From: Shamus Hammons Date: Wed, 15 Mar 2017 03:57:34 +0000 (-0500) Subject: First pass at cleanup of Part II. X-Git-Url: http://shamusworld.gotdns.org/cgi-bin/gitweb.cgi?a=commitdiff_plain;h=fc55149168a9d75cf6760d96558d63cbdbbbc5df;p=ardour-manual First pass at cleanup of Part II. --- diff --git a/include/about-ardours-documentation.html b/include/about-ardours-documentation.html index c84b35d..f5bb75a 100644 --- a/include/about-ardours-documentation.html +++ b/include/about-ardours-documentation.html @@ -154,3 +154,4 @@ Hairy issues that might cause things to go wrong, lose data, impair sound quality, or eat your proverbial goldfish, are displayed in this way.

+ diff --git a/include/adding-tracks-busses-and-vcas.html b/include/adding-tracks-busses-and-vcas.html index 7793b68..b29affe 100644 --- a/include/adding-tracks-busses-and-vcas.html +++ b/include/adding-tracks-busses-and-vcas.html @@ -47,3 +47,4 @@ from the menu. A warning dialog will pop up, as track removal cannot be undone; use this option with care!

+ diff --git a/include/align-spot-regions.html b/include/align-spot-regions.html index cde11d3..6025e5f 100644 --- a/include/align-spot-regions.html +++ b/include/align-spot-regions.html @@ -13,3 +13,4 @@ Align Region starts relative a Selected region(s) are moved so that the start of the earliest region is located at the current edit point, and all others maintain their relative position relative to that region + diff --git a/include/ardour-monitor-modes.html b/include/ardour-monitor-modes.html index cb26cea..d092400 100644 --- a/include/ardour-monitor-modes.html +++ b/include/ardour-monitor-modes.html @@ -75,3 +75,4 @@ 64Audio HardwareOnOnOn▶OffInputHW Pass Through + diff --git a/include/ardour-systems.html b/include/ardour-systems.html index 139597f..b186f27 100644 --- a/include/ardour-systems.html +++ b/include/ardour-systems.html @@ -1,2 +1,7 @@ +

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

diff --git a/include/audiomidi-mixer-strips.html b/include/audiomidi-mixer-strips.html index fb42e35..1cea7aa 100644 --- a/include/audiomidi-mixer-strips.html +++ b/include/audiomidi-mixer-strips.html @@ -354,3 +354,4 @@ is replaced by the beginning of the text, so it can be used as a "sub" name for the track.

+ diff --git a/include/basic-gui-operations.html b/include/basic-gui-operations.html index abf3305..8fec0d9 100644 --- a/include/basic-gui-operations.html +++ b/include/basic-gui-operations.html @@ -178,3 +178,4 @@ class="mod3">Z. There is also an undo for selection; see "Selection Techniques" above.

+ diff --git a/include/behringer-devices-in-mackielogic-control-mode.html b/include/behringer-devices-in-mackielogic-control-mode.html index df492dc..6cb2922 100644 --- a/include/behringer-devices-in-mackielogic-control-mode.html +++ b/include/behringer-devices-in-mackielogic-control-mode.html @@ -248,11 +248,11 @@ The surface can be broken into 8 groups of controls. FIX ME

Views

+

Digramatic Image of the LED display for different Views

-

- FIX ME -

+ +

Missing content

diff --git a/include/configuring-midi.html b/include/configuring-midi.html index 139597f..d05d369 100644 --- a/include/configuring-midi.html +++ b/include/configuring-midi.html @@ -1,2 +1,44 @@ +

+ MIDI is + a way to describe musical performances and to control music hardware and + software. +

+ +

+ Ardour can import and record MIDI data, and perform a variety of editing + operations on it. Furthermore, MIDI can be used to control various functions + of Ardour. +

+ +

MIDI Handling Frameworks

+ +

+ MIDI input and output for Ardour are handled by the same "engine" that + handles audio input and output. +

+ + + + + + + + +
OS XCoreMIDI is the standard MIDI framework on OSX systems.
LinuxALSA MIDI is the + standard MIDI framework on Linux systems.
WindowsThere is no single standard MIDI framework on Windows, but Ardour + can work with ASIO and others.
+ +

+ On Linux systems, QJackCtl control software displays ALSA MIDI + ports under its "ALSA" tab (it does not currently display CoreMIDI ports). + By contrast, JACK MIDI ports show up under the MIDI + tab in QJackCtl. +

+ +

JACK MIDI Configuration

+ +

+ By default, JACK will not automatically detect and use existing MIDI ports. One of several ways of bridging between the native MIDI frameworks (e.g. CoreMIDI or ALSA) and JACK MIDI must be chosen, as described in the following sections. +

diff --git a/include/connecting-audio-and-midi-devices.html b/include/connecting-audio-and-midi-devices.html index 9af55c5..5fb81f5 100644 --- a/include/connecting-audio-and-midi-devices.html +++ b/include/connecting-audio-and-midi-devices.html @@ -1,3 +1,26 @@ -

Add content

+

+ Normally Ardour does not care about how audio and MIDI gets into the computer—it pretty much deals only with its own inputs and outputs; it is up to the user to ensure that all external routing is sound. After all, Ardour has no way to know how signals from the outside world get to it. However, there are some things that Ardour can do to help troubleshoot problems with audio and MIDI connections—at least on the computer side. +

+ +

+ For example, a typical setup might include a microphone that feeds a mixer that then feeds the computer. A failure can occur anywhere in that signal chain, including the cables that connect everything together. As far as Ardour is concerned, the most important connection is the one coming from the sound source to the physical audio input of the computer—in this example, the cable connecting between the mixer and the computer. +

+ +

+ Common sense and basic troubleshooting skills are needed when problems arise, and in the above example, one would have to go through the entire signal chain to ensure that each component was working as it should. +

+ +

Common Problems

+ +

+ Ardour tries to set things up in a sane manner by automatically connecting the hardware inputs of the computer to its master input and the hardware outputs to the master output. If the signal coming into the hardware inputs is active, the meters on Ardour's master channel should move. If they don't, some things to check include: +

+ + diff --git a/include/control-masters-mixer-strips.html b/include/control-masters-mixer-strips.html index ab2f5b8..f5b7f32 100644 --- a/include/control-masters-mixer-strips.html +++ b/include/control-masters-mixer-strips.html @@ -63,3 +63,4 @@ A VCA strip is made of (from top to bottom in the screenshot): multiple buttons. Disconnecting a VCA from a track is done by unchecking this VCA in the list that pops up, or clicking Unassign All to disconnect from all VCAs at once.

+ diff --git a/include/corresponding-regions-selection.html b/include/corresponding-regions-selection.html index ae2143b..ecca532 100644 --- a/include/corresponding-regions-selection.html +++ b/include/corresponding-regions-selection.html @@ -40,3 +40,4 @@ overlap. This is much more flexible and will cover almost all of the cases that the fixed rules above might make cumbersome.

+ diff --git a/include/create-region-fades-and-crossfades.html b/include/create-region-fades-and-crossfades.html index 2db6229..f5b8090 100644 --- a/include/create-region-fades-and-crossfades.html +++ b/include/create-region-fades-and-crossfades.html @@ -131,3 +131,4 @@ finds it appropriate. amount of effort to shorten the fade is much easier than messing with a crossfade editor dialog.

+ diff --git a/include/default-keyboard-bindings.html b/include/default-keyboard-bindings.html index 923c89a..c576039 100644 --- a/include/default-keyboard-bindings.html +++ b/include/default-keyboard-bindings.html @@ -49,3 +49,4 @@ class="mod2n">, , etc.) differ among platforms, so different default bindings for each are provided.

+ diff --git a/include/edit-midi.html b/include/edit-midi.html index 385e642..2f23cad 100644 --- a/include/edit-midi.html +++ b/include/edit-midi.html @@ -22,7 +22,7 @@ way currently to edit in note data for multiple regions at the same time, so for example notes cannot be selected in several regions and then all deleted, nor can they be copied-and-pasted from one region to another. Region(s), though, can - be copy-pasted just as with audio. + be copy-pasted just as with audio.
  • All MIDI I/O is done via JACK for sample accurate timing and maximal @@ -73,3 +73,4 @@ and the operation cannot be undone.
    • + diff --git a/include/global-preferences-dialog.html b/include/global-preferences-dialog.html index 23320c5..c09a71e 100644 --- a/include/global-preferences-dialog.html +++ b/include/global-preferences-dialog.html @@ -1,8 +1,14 @@

    - These preferences apply to all Ardour sessions. + Global preferences control general workflow and system + configuration, and should apply to all sessions. They are located in Edit > Preferences and stored in Ardour's user + configuration file in the user's home directory.

    +
    ardour preferences dialog +
    The Global Prefences Dialog.
    +
    diff --git a/include/grid-controls.html b/include/grid-controls.html index 2166fc9..72df83e 100644 --- a/include/grid-controls.html +++ b/include/grid-controls.html @@ -156,3 +156,4 @@ unusable. This option should not be used in conjunction with the use any of the Region grid units.

    + diff --git a/include/insert-remove-time.html b/include/insert-remove-time.html index 88fb5ec..d755a80 100644 --- a/include/insert-remove-time.html +++ b/include/insert-remove-time.html @@ -79,3 +79,4 @@

    The range selection note above can be especially useful in this context.

    + diff --git a/include/interchange-with-other-daws.html b/include/interchange-with-other-daws.html index c2079f8..91b278d 100644 --- a/include/interchange-with-other-daws.html +++ b/include/interchange-with-other-daws.html @@ -27,3 +27,4 @@
  • Stem exports
  • Use AATranslator
    • + diff --git a/include/kde-plasma-5.html b/include/kde-plasma-5.html index 78024ae..9b10eb2 100644 --- a/include/kde-plasma-5.html +++ b/include/kde-plasma-5.html @@ -33,8 +33,8 @@

    - At this point you can close the System Settings - application. + At this point the System Settings application can be + closed.

    Background Info

    diff --git a/include/list-of-menu-actions.html b/include/list-of-menu-actions.html index 82f38d5..1a9fd0c 100644 --- a/include/list-of-menu-actions.html +++ b/include/list-of-menu-actions.html @@ -741,3 +741,4 @@ new ardour version.--> Mixer/unity-gainSet Gain to 0dB on Mixer-Selected Tracks/Busses + diff --git a/include/microsoft-windows.html b/include/microsoft-windows.html index dc12d9b..4eeef5e 100644 --- a/include/microsoft-windows.html +++ b/include/microsoft-windows.html @@ -1,26 +1,28 @@ +

    This section is need of updating.

    +

    - Microsoft Windows is not currently officially supported. If you are - willing to live with bugs and help to test this platform, read on. + Microsoft Windows is not currently officially supported. If you + are willing to live with bugs and help to test this platform, read on.

    Installing Ardour

    -

    -

      -
    1. Download the latest windows build from - the nightly build page.
      2. -
    2. Run the installer and follow the prompts.
      3. -
    -

    + +
      +
    1. Download the latest windows build from the nightly build page.
      2. +
    2. Run the installer and follow the prompts.
      3. +

    How to help

    -

    -

    -

    + +     diff --git a/include/midi-editing.html b/include/midi-editing.html deleted file mode 100644 index 139597f..0000000 --- a/include/midi-editing.html +++ /dev/null @@ -1,2 +0,0 @@ - - diff --git a/include/midi-on-linux.html b/include/midi-on-linux.html index 9f72d87..3da4652 100644 --- a/include/midi-on-linux.html +++ b/include/midi-on-linux.html @@ -1,71 +1,73 @@ -The right approach for using MIDI on Linux depends on which version of -JACK you use. The world divides into: +

    + The right approach for using MIDI on Linux depends on which version of JACK + is in use. The world divides into: +

    - - - - + + + +
    Systems using JACK 1, versions 0.124 or laterOn these systems, just start JACK with - the -X alsa_midi server argument. To support legacy control - applications, you can also use the -X seq argument to the ALSA - backend of JACK and get the exact same results.
    All othersUse a2jmidid to act as a bridge between ALSA MIDI and JACK. Do - not use the -X seq or -X raw arguments—the timing and performance - of these options is not acceptable. -
    Systems using JACK 1, versions 0.124 or laterOn these systems, simply start JACK with the -X alsa_midi + server argument. To support legacy control applications, the -X + seq argument to the ALSA backend of JACK can also be used to get the + exact same results.
    All othersUse a2jmidid to act as a bridge between ALSA MIDI and JACK. Do not use + the -X seq or -X raw arguments—the timing and + performance of these options is unacceptable.
    -

    a2jmidid

    +

    Using a2jmidid

    +

    a2jmidid is an application that bridges between the system MIDI ports and JACK.

    +

    - First you should make sure that there is no ALSA sequencer support enabled - in JACK. To do that open QJackCtl's Setup window. -

    -

    + First it must be ensured that there is no ALSA sequencer support enabled in + JACK. To check that, open QJackCtl's Setup window. Set Settings > MIDI Driver to none. - Then uncheck the Misc > Enable ALSA Sequencer - support option.
    - Now it's time to restart your jack server before going on. + class="input">none. Then uncheck the Misc > + Enable ALSA Sequencer support option. Now restart the jack server + before going on.

    Check for a2jmidid availability

    +

    - First, check whether a2jmidid is already installed in your system. After - starting your JACK server, go to the command line and type + Next, check whether a2jmidid is already installed. After starting the JACK + server, go to the command line and type:

    + a2jmidid -e +

    - If a2jmidid does not exist, install it with the software manager of your - Linux distribution and try again. + If a2jmidid does not exist, install it with the software manager of the + Linux distribution in use and try again.

    -

    Check available MIDI ports

    -

    - If you have correctly configured JACK for MIDI, then your MIDI ports should appear in - qjackctl under Connections > MIDI . -

    -

    Making it automatic

    -Once you've verified that the ports appear in JACK as expected, you -can make this happen whenever you start JACK. + If JACK is correctly configured for MIDI, then the MIDI ports should appear + in qjackctl under Connections > MIDI.

    -

    If you use a newer version of JACK 1, just make sure the -X -alsa_midi or -X seq options are enabled for whatever technique you use -to start JACK. -

    +

    Making it automatic

    -For other versions of JACK, -add a2jmidid -e & as an "after start-up" script -in the Setup > Options tab of QJackCtl, so -that it is started automatically whenever you start JACK. + Once it has been verified that the ports appear in JACK as expected, this can + be made to happen whenever JACK is started:

    + + diff --git a/include/midi-on-os-x.html b/include/midi-on-os-x.html index 985e523..4744213 100644 --- a/include/midi-on-os-x.html +++ b/include/midi-on-os-x.html @@ -1,28 +1,31 @@

    In order for CoreMIDI to work with Jack MIDI, a CoreMIDI-to-JACK-MIDI - bridge - is required. This feature is available on versions equal to or great than - version 0.89 of JackOSX. + bridge is required. This feature is available on versions equal to + or greater than version 0.89 of JackOSX.

    Routing MIDI

    +

    Inside Ardour

    +

    - MIDI ports show up in Ardour's MIDI connection matrix in multiple - locations. Bridged CoreMIDI ports as well as JACK MIDI ports that have - been created by other software clients will show up under the "Other" tab. - Bridged CoreMIDI hardware ports show up under the "Hardware" tab. + MIDI ports show up in Ardour's MIDI connection matrix in multiple locations. + Bridged CoreMIDI ports as well as JACK MIDI ports that have been created by + other software clients will show up under the "Other" tab. Bridged CoreMIDI + hardware ports show up under the "Hardware" tab.

    External Applications

    +

    There are multiple options for connecting MIDI ports outside of Ardour.

    +     diff --git a/include/midi-tracer.html b/include/midi-tracer.html index 9acebca..361071d 100644 --- a/include/midi-tracer.html +++ b/include/midi-tracer.html @@ -50,3 +50,4 @@

    Note: The MIDI Tracer can lists all kind of MIDI events, "audio" ones, but also scene automation or timecodes ones.

    + diff --git a/include/mouse.html b/include/mouse.html index f5199a4..30c4e54 100644 --- a/include/mouse.html +++ b/include/mouse.html @@ -1,26 +1,26 @@

    Ardour is designed to work best with a three button mouse - equipped with a scroll wheel. -

    -

    - It can be used with a two button mouse or touchpad, but at least two key - operations will not (easily) be available to you: + equipped with a scroll wheel. While it can be used with a two + button mouse or touchpad, at least two key operations will not be (easily) + available:

    + +

    - You are strongly encouraged to invest in a three-button mouse. You will - find that a good quality mouse (especially one with a weighted, - latchable scroll wheel) will make your use of Ardour vastly more - efficient. They are cheap, and time is not. + It is strongly encouraged to invest in a three-button mouse. A good quality + mouse (especially one with a weighted, latchable scroll wheel) will make the + use of Ardour vastly more efficient. They are cheap, and time is not.

    +

    - For more detailed instructions, see - Using the mouse. + For information on how to use the mouse in Ardour, see Using the mouse.

    diff --git a/include/newopen-session-dialog.html b/include/newopen-session-dialog.html index bee4c7c..f14e80e 100644 --- a/include/newopen-session-dialog.html +++ b/include/newopen-session-dialog.html @@ -109,3 +109,4 @@ class="menu">CoreMIDI. On Linux, you can change between two legacy ALSA drivers or the (preferred) new JACK+ALSA implementation. + diff --git a/include/on-clock-and-time.html b/include/on-clock-and-time.html index 9e3d95a..ae577f6 100644 --- a/include/on-clock-and-time.html +++ b/include/on-clock-and-time.html @@ -65,3 +65,4 @@ clock and time. It is possible to extract absolute position data and speed from it.

    + diff --git a/include/overview-of-all-timecode-related-settings.html b/include/overview-of-all-timecode-related-settings.html index f203e61..a6308c1 100644 --- a/include/overview-of-all-timecode-related-settings.html +++ b/include/overview-of-all-timecode-related-settings.html @@ -37,10 +37,11 @@ Provide Bar|Beat|Tick and other information to JACK. -

    These settings are session specific.

    +

    These settings are session specific.

    Transport Preferences

    +
    External timecode source @@ -91,13 +92,19 @@ is 0 dBu (which is -18 dbFS in an EBU calibrated system).
    -

    These settings are common to all sessions.

    +

    + These settings are common to all sessions. +

    MIDI Preferences

    +
    Send MIDI TimecodeEnable MTC generator
    Send MIDI ClockEnable MIDI Clock generator
    -

    These settings are also common to all sessions.

    + +

    + These settings are also common to all sessions. +

    diff --git a/include/preferences-and-session-properties.html b/include/preferences-and-session-properties.html deleted file mode 100644 index 95ba5a3..0000000 --- a/include/preferences-and-session-properties.html +++ /dev/null @@ -1,18 +0,0 @@ - -

    - Ardour splits its configuration options into two categories: -

    - - diff --git a/include/preferences.html b/include/preferences.html deleted file mode 100644 index 139597f..0000000 --- a/include/preferences.html +++ /dev/null @@ -1,2 +0,0 @@ - - diff --git a/include/pushpull-trimming.html b/include/pushpull-trimming.html index a3afc37..3887e0a 100644 --- a/include/pushpull-trimming.html +++ b/include/pushpull-trimming.html @@ -40,3 +40,4 @@ trim to reduce the leftmost region, then doing a simple trim to extend the rightmost one to fill the gap.

    + diff --git a/include/select-regions.html b/include/select-regions.html index 6599e00..0a97c8e 100644 --- a/include/select-regions.html +++ b/include/select-regions.html @@ -72,3 +72,4 @@ selects it. This will do nothing for whole-file regions, since they do not exist anywhere in a playlist or track.

    + diff --git a/include/separate-under.html b/include/separate-under.html index 8e75458..6293355 100644 --- a/include/separate-under.html +++ b/include/separate-under.html @@ -40,3 +40,4 @@ Region arrangement before and after 'Separate Using Loop Range' + diff --git a/include/session-properties-dialog.html b/include/session-properties-dialog.html index dd0679f..59cd3ca 100644 --- a/include/session-properties-dialog.html +++ b/include/session-properties-dialog.html @@ -1,9 +1,14 @@ -session properties dialog -

    - This dialog allows you to change settings for the current session. These settings - are initially set from the template used to create the session. To open the dialog - use Session > Properties + Session properties control aspects of the workflow or + configuration that pertain to the current session only; these settings are + initially set from the template used to create the session. They can be found + in Session > Properties, and are stored in the + session file.

    +
    +session properties dialog +
    The Session Properties dialog.
    +
    + diff --git a/include/setting-up-midi.html b/include/setting-up-midi.html deleted file mode 100644 index 1e3dcbb..0000000 --- a/include/setting-up-midi.html +++ /dev/null @@ -1,51 +0,0 @@ - -

    What Can Ardour Do With MIDI?

    -

    - MIDI is a way to describe musical - performances and to control music hardware and software. -

    -

    Ardour can import and record MIDI data, and perform a variety of - editing operations on it. Furthermore, MIDI can be used to control - various functions of Ardour. -

    - -

    MIDI Handling Frameworks

    -

    - MIDI input and output for Ardour are handled by the same "engine" - that handles audio input and output. -

    - - - - - - - - - -
    OS X CoreMIDI is the standard MIDI framework on OSX systems. -
    Linux - ALSA MIDI - is the standard MIDI framework on Linux systems. -
    Windows - There is no single standard MIDI framework on Windows, - but Ardour can work with ASIO and others. -
    - -

    - On Linux systems, QJackCtl control software displays ALSA MIDI - ports under its "ALSA" tab (it does not currently display CoreMIDI - ports). By contrast, JACK MIDI ports show up under - the MIDI tab in QJackCtl. -

    - -

    JACK MIDI Configuration

    -

    -By default, JACK will not automatically detect and use existing MIDI -ports on your system. You must choose one of several ways -of bridging between the native MIDI frameworks -(e.g. CoreMIDI or ALSA) and JACK MIDI, as described in the sections -below. -

    - diff --git a/include/setting-up-your-system.html b/include/setting-up-your-system.html index fe690ab..94abcc6 100644 --- a/include/setting-up-your-system.html +++ b/include/setting-up-your-system.html @@ -1,8 +1,7 @@

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

    diff --git a/include/stretching-regions.html b/include/stretching-regions.html index c9fa9e6..57bbe99 100644 --- a/include/stretching-regions.html +++ b/include/stretching-regions.html @@ -105,3 +105,4 @@
  • For multi-tonal material (chords,…), either one of the three first choice, or the default Crisp.
    • + diff --git a/include/strip-silence-from-audio-regions.html b/include/strip-silence-from-audio-regions.html index 9496ae6..cf844d9 100644 --- a/include/strip-silence-from-audio-regions.html +++ b/include/strip-silence-from-audio-regions.html @@ -52,3 +52,4 @@

    The minimum length for silence can be useful when editing very percussive material and just needing to automatically trim the ends of a region.

    + diff --git a/include/tempo-and-meter.html b/include/tempo-and-meter.html index 3f400d5..acebf4e 100644 --- a/include/tempo-and-meter.html +++ b/include/tempo-and-meter.html @@ -1,15 +1,24 @@

    - Tempo and meter belong together. without both, there is no way to know where a beat lies in time. + Tempo and meter belong together. without both, there is no way to know where + a beat lies in time.

    - Tempo provides a musical pulse, which is divided into beats and bars by a meter. When you change tempo or move an audio-locked meter, all objects on the timeline that are glued to bars and beats (locations, regions) will move in sympathy. + Tempo provides a musical pulse, which is divided into beats and bars by a + meter. When tempo is changed or an audio-locked meter is moved, all objects + on the timeline that are glued to bars and beats (locations, regions) will + move in sympathy.

    - When performing meter or tempo operations, it is advised that you show the BBT ruler (available by right-clicking an existing marker or ruler name), and ensure that the constraint modifier is set (in Preferences->User Interaction) so that no other modifiers share its key combination.
    - The constraint modifier is the "Constrain drags using: " setting under the "When Beginning a Drag" heading. One viable setting is . + When performing meter or tempo operations, it is advisable to use the BBT + ruler (available by right-clicking an existing marker or ruler name), and + ensure that the constraint modifier is set (in Preferences->User Interaction) + so that no other modifiers share its key combination. The constraint modifier + is the "Constrain drags using: " setting under the "When Beginning a Drag" + heading. One viable setting is + .

    Tempo

    @@ -19,34 +28,64 @@

    - A tempo may be locked to audio or musical time. You may change this by right-clicking on a tempo. If a tempo is locked to music, an entry will be available to lock it to audio. Similarly an audio-locked tempo may be locked to music by right clicking it an selecting the "Lock to Music" entry. + A tempo may be locked to audio or musical time. This can be changed by right-clicking on a tempo. If a tempo is locked to music, + an entry will be available to lock it to audio. Similarly an audio-locked + tempo may be locked to music by right-clicking it + and selecting the "Lock to Music" entry.

    - Audio locked tempo marks stay in their frame position as their neigbours positions are altered. Their pulse (musical) position will change as their neighbours move. Music locked tempo marks move their frame position as their neighbours are moved, but keep their pulse position (they will move as the music is moved). + Audio locked tempo marks stay in their frame position as their neigbour's + positions are altered. Their pulse (musical) position will change as their + neighbours move. Music locked tempo marks move their frame position as their + neighbours are moved, but keep their pulse position (they will move as the + music is moved).

    - A tempo may be ramped or constant. + A tempo may be constant or ramped:

    -
    A constant tempo displaying the tempo at the playhead in the audio clock
    @@ -61,37 +100,51 @@
    -

    - To add a new tempo, use the primary modifier and click on the tempo line at the desired position. The new tempo will be the same as the tempo at the position of the mouse click (it will not change the shape of the ramp). + To add a new tempo, use the primary modifier and click on the tempo line at + the desired position. The new tempo will be the same as the tempo at the + position of the mouse click (it will not change the shape of the ramp).

    - To copy a tempo, hold down the primary modifier and drag the tempo you wish to copy. + To copy a tempo, hold down the primary modifier and drag the tempo to be + copied.

    Meter

    - Meter positions beats using the musical pulse of a tempo, and groups them into bars using its number of divisions per bar. + Meter positions beats using the musical pulse of a tempo, and groups them + into bars using its number of divisions per bar.

    - The first meter in a new session may be moved freely. It has an associated tempo which cannot be dragged by itself (although all others can). It can be moved freely and is locked to audio. + The first meter in a new session may be moved freely. It has an associated + tempo which cannot be dragged by itself (although all others can). It can be + moved freely and is locked to audio.

    - New meters are locked to music. They may only occur on a bar line if music locked. + New meters are locked to music. They may only occur on a bar line if music + locked.

    - An audio locked meter provides a way to cope with musical passages which have no meter (rubato, pause), or to allow a film composer to insert a break in music which cannot be counted in beats. + An audio locked meter provides a way to cope with musical passages which have + no meter (rubato, pause), or to allow a film composer to insert a break in + music which cannot be counted in beats.

    - If a meter is audio-locked, its bar number is fixed from the point at which it left the main score. That bar number cannot be changed, nor can tempo motion allow the previous bar to overlap. If you need another bar, lock the meter to music again (right click->"Lock to Music"), drag the meter to the desired bar and re-lock to audio. You may now drag your new bar freely again. + If a meter is audio-locked, its bar number is fixed from the point at which + it left the main score. That bar number cannot be changed, nor can tempo + motion allow the previous bar to overlap. If another bar is needed, lock the + meter to music again (right click->"Lock to Music"), drag the meter to the + desired bar and re-lock to audio. The new bar can be freely dragged again.

    -
  • To change a meter, double click it. A dialog will appear.
    • + -
  • To copy a meter, hold down and drag it.
    • diff --git a/include/the-right-computer-system-for-digital-audio.html b/include/the-right-computer-system-for-digital-audio.html index 4418e75..6dcee9a 100644 --- a/include/the-right-computer-system-for-digital-audio.html +++ b/include/the-right-computer-system-for-digital-audio.html @@ -1,106 +1,101 @@

    - It would be nice to think that you could just go and buy any computer, - install a bit of software on it and start using it to record and create - music. This idea isn't wrong, but there some important details that it - misses. -

    -

    - Any computer that you can buy today (since somewhere around the end of - 2012) is capable of recording and processing a lot of audio data. It - will come with a builtin audio interface that can accept inputs from - microphones or electrical instruments. It will have a disk with a huge + It is nice to think that one could just go and buy any computer, install a + bit of software on it and start using it to record and create music. This + idea isn't necessarily wrong, but there are some important details that it + misses. Any computer that that can be bought today (since somewhere around + the end of 2012) is capable of recording and processing a lot of audio data. + It will come with a builtin audio interface that can accept inputs from + microphones and/or electrical instruments; it will have a disk with a huge amount of space for storing audio files.

    +

    - When you are recording, editing and mixing music, you generally want to - work with very little latency between the time that - a sound is generated and when you can hear it. When the audio signal - flows through a computer, that means that the computer has to be able to - receive the signal, process it and send it back out again as fast as - possible.
    - And that is where it becomes very important what computer system - you have, because it is absolutely not the case that any - computer can do this job well. + However, when recording, editing and mixing music, it is generally desirable + to have very little latency between the time a sound is generated + and when it can be heard. When the audio signal flows through a computer, + that means that the computer has to be able to receive the signal, process it + and send it back out again as quickly as possible. And this is where it + becomes very important what computer system is being used for this + task, because it is absolutely not the case that + any computer can do it well.

    +

    - Routing audio through a computer will always cause some delay, but if it - is small, you will generally never notice it. There are also ways to work - in which the delay does not matter at all (for example, not sending the - output from the computer to speakers). + Routing audio through a computer will always cause some delay, but if it is + small, it will generally never be noticed. There are also ways to work in + which the delay does not matter at all (for example, not sending the output + from the computer to speakers).

    +

    - The latency that you want for working with digital audio is typically in - the 1–5 ms range. For comparison, if you are sitting 1 m - (3 ft) from your speakers, the time the sound takes to reach your + The latency that is typically needed for working with digital audio is in the + 1–5 ms range. For comparison, if one is sitting 1 m + (3 ft) from a set of speakers, the time the sound takes to reach the ears is about 3 ms. Any modern computer can limit the delay to - 100 ms. Most can keep it under 50 ms. Many will be able to get - down to 10 ms without too much effort. If you try to reduce the delay - on a computer that cannot meet your goal, you will get clicks and - glitches in the audio, which is clearly extremely undesirable. + 100 ms; most can keep it under 50 ms. Many will be able to get down + to 10 ms without too much effort. Attempting to reduce the latency on a + computer that cannot physically do it will cause clicks and glitches in the + audio, which is clearly undesirable.

    Hardware-related Considerations

    + + from keeping up with the flow of data. + drivers) can also block the audio interface from keeping up with the flow of + data. - + - + - + - + - + - + - +
    Video interface Poorly engineered video interfaces (and/or their device drivers) can "steal" computer resources for a long time, preventing the audio interface - from keeping up with the flow of data
    Wireless interface Poorly engineered wireless networking interfaces (and/or their device - drivers) can also block the audio interface from keeping up with the flow - of data
    USB portsIf you are using an audio interface connected via USB, and sometimes - even if you are not, the precise configuration of your system's USB ports - can make a big difference. There are many cases where plugging the - interface into one port will work, but using different USB port results - in much worse performance. This has been seen even on Apple systems. -
    When using an audio interface connected via USB, and sometimes even if + not, the precise configuration of the system's USB ports can make a big + difference. There are many cases where plugging the interface into one port + will work, but using different USB port results in much worse performance. + This has been seen even on Apple systems.
    Internal USB HubsIdeally, you'd like your USB ports to all connect directly to the - main bus inside the computer. Some laptops (and possibly some - desktop systems) come wired with an internal USB hub between the - ports and the system bus, which can then cause problems for various - kinds of external USB devices, including some models of audio - interfaces. It is very difficult to discover whether this is true or - not, without simplying trying it out.
    Ideally, all USB ports should connect directly to the main bus inside the + computer. Some laptops (and possibly some desktop systems) come wired with an + internal USB hub between the ports and the system bus, which can then cause + problems for various kinds of external USB devices, including some models of + audio interfaces. It is very difficult to discover whether this is true or + not without simplying trying it out.
    CPU speed controlHandling audio with low latency requires that your processor keeps - running at its highest speed at all times. Many portable systems try to - regulate processor speed in order to save power—for low latency - audio, you want this totally disabled, either in the BIOS or at the OS - level.
    Handling audio with low latency requires that the processor keeps running + at its highest speed at all times. Many portable systems try to regulate + processor speed in order to save power—for low latency audio, this + should be totally disabled, either in the BIOS or at the OS level.
    Excessive Interrupt SharingIf your audio interface is forced by your computer to share an - interrupt line (basically a way to tell the CPU that something needs - its attention) with too many, or the wrong, other devices, this can also - prevent the audio interface from keeping up with the flow of data. In - laptops it is generally impossible to do anything about this. In many - desktop systems, it is possible at the BIOS level to reassign interrupts - to work around the problem.
    If the audio interface is forced by the computer to share an interrupt + line (basically a way to tell the CPU that something needs its attention) + with too many other (or wrong) devices, this can also prevent the audio + interface from keeping up with the flow of data. In laptops it is generally + impossible to do anything about this. In many desktop systems, it is possible + at the BIOS level to reassign interrupts to work around the problem.
    SMIsSMIs are interrupts sent by the motherboard to tell the computer - about the state of various hardware. They cannot safely be disabled, - but they can also take a relatively long time to process. It is better - to have a motherboard which never sends SMIs at all—this is - also a requirement for realtime stock trading systems, which have - similar issues with latency.
    SMIs are interrupts sent by the motherboard to tell the computer about + the state of various hardware. They cannot safely be disabled, and they can + take a relatively long time to process. It is better to have a motherboard + which never sends SMIs at all—this is also a requirement for realtime + stock trading systems, which have similar issues with latency.
    HyperthreadingThis technology is becoming less common as actual multi-core CPUs - become the norm, but it still exists and is generally not good for - realtime performance. Sometimes you can disable this in the BIOS, - sometimes you cannot. A processor that uses hyperthreading will be - less stable in very low latency situations than one without.
    This technology is becoming less common as actual multi-core CPUs become + the norm, but it still exists and is generally not good for realtime + performance. Sometimes this can be disabled in the BIOS, sometimes it cannot. + A processor that uses hyperthreading will be less stable in very low latency + situations than one without.
    Excessive vibrationThis doesn't affect the flow of data to/from the audio interface, - but it can cause the flow of data to/from your disk storage to become - much slower. If you are going to use a computer in an - environment with loud live sound (specifically, high bass volume), - make sure to place it so that the disk is not subject to noticeable - vibration. The vibrations will physically displace the head-write - heads of disk, and the resulting errors will force a retry of the - reading from the disk. Retrying over and over massively reduces the - rate at which data can be read from the disk. Avoid this.
    This doesn't affect the flow of data to or from the audio interface, but + it can cause the flow of data to and from disk storage to become + much slower. If a computer going to be used in an environment with + loud live sound (specifically, high bass volume), make sure it is placed so + that the disk is not subjected to noticeable vibration. The vibrations will + physically displace the read-write heads of disk, and the resulting errors + will force a retry of the reading from the disk. Retrying over and over + massively reduces the rate at which data can be read from the disk. Avoid + this.
    diff --git a/include/the-track-menu.html b/include/the-track-menu.html index c7b7ccc..249fbb0 100644 --- a/include/the-track-menu.html +++ b/include/the-track-menu.html @@ -26,3 +26,4 @@ Toggle ActiveToggles the active state of a track. An inactive track will be grayed and wont play any sound. That can be seen in the A colomn of the Tracks and Busses List RemoveDeletes this track and its playlist (no file is harmed in the process, and the regions from the playlist stay in the Editor for later use) + diff --git a/include/toolbox.html b/include/toolbox.html index aedc30b..e0b114d 100644 --- a/include/toolbox.html +++ b/include/toolbox.html @@ -103,3 +103,4 @@ cross-hairs. This tool acts on region gain and automation as the Draw tool.
    On a MIDI region, it allows to lasso-select multiple notes at a time. + diff --git a/include/transport-bar.html b/include/transport-bar.html index 98b191b..1f5d08b 100644 --- a/include/transport-bar.html +++ b/include/transport-bar.html @@ -102,3 +102,4 @@ Go to the Transport and Transport > Playhead to find more.

    + diff --git a/include/trimming-regions.html b/include/trimming-regions.html index ebe5f58..fd5b79f 100644 --- a/include/trimming-regions.html +++ b/include/trimming-regions.html @@ -53,3 +53,4 @@ Trim the end of selected region(s) to the start of the following region. If the region is too short, it is extended to it's maximum to the right. + diff --git a/include/ubuntu-linux.html b/include/ubuntu-linux.html index 4677670..cc8626d 100644 --- a/include/ubuntu-linux.html +++ b/include/ubuntu-linux.html @@ -1,148 +1,178 @@

    - Ubuntu Linux is the most popular variety of Linux in use on desktop - and laptop systems. It has the backing of a for-profit corporation - (Canonical Inc.), a defined philosophy and a huge and - worldwide user base. As a result, it is a common platform for people - who want to use Ardour and other tools for music creation and - pro-audio work. + Ubuntu Linux is the most popular variety of Linux in use on + desktop and laptop systems. It has the backing of a for-profit corporation + (Canonical Inc.), a defined philosophy and a huge and worldwide user base. As + a result, it is a common platform for people who want to use Ardour and other + tools for music creation and pro-audio work.

    High Level Recommendations for Ubuntu Users

    +

    - Currently, installing pro audio applications on vanilla Ubuntu requires - some configuration, in order for the user to gain realtime privilege - (read below). - Ubuntu Studio, which is an official flavor of Ubuntu, and thus shares - the repositories with Ubuntu, has this already configured. - Other distributions, such as KXStudio, and Dreamstudio are largely based - on Ubuntu, and like Ubuntu Studio, has these settings preconfigured, while - also containing customized versions of Ubuntu packages, which often are - more up to date. + Currently, installing pro audio applications on vanilla Ubuntu requires some + configuration, in order for the user to gain realtime privilege (read below). + Ubuntu Studio, which is an official flavor of Ubuntu, and thus shares the + repositories with Ubuntu, has this already configured. Other distributions, + such as KXStudio, and Dreamstudio are largely based on Ubuntu, and like + Ubuntu Studio, has these settings preconfigured, while also containing + customized versions of Ubuntu packages, which often are more up to date.

    Installing Ardour

    +

    - There may be unintended differences, and even bugs in Ubuntu native - packages, as a result of a different building method. For this reason, - Ardour developers highly recommend you to install the official - ready-to-run version of the program that you can get from ardour.org, as Ubuntu native - packages are not supported in official Ardour forums or other - support channels. -

    -

    - Follow these steps to install the latest version of Ardour. -

      -
    1. Download the latest release from - ardour.org.
      2. -
    2. Right+Click the downloaded file and choose - properties.
      3. -
    3. Click the Permissions tab and check the option "Allow this file to - run as a program"
      4. + packages are not supported in the official Ardour forums or other support + channels. +

      + +

      + Follow these steps to install the latest version of Ardour: +

      + +
        +
      1. Download the latest release from ardour.org.
        2. +
      2. Right-click the downloaded file and choose + properties.
        3. +
      3. Click the Permissions tab and check the option "Allow this file to run as + a program".
      4. Close the dialog and double-click the file.
      5. Follow the prompts.
      -

      Problems with the interaction between PulseAudio and JACK

      Background Info

      + +

      + Like many distributions, Ubuntu has decided to use PulseAudio as + the default audio system. PulseAudio is a rich and capable system that + provides excellent services for typical users of Linux on the desktop. + However, it is not capable of the type of performance that tools like Ardour + require and in particular does not offer the possibility of sending audio + between applications that can make the Linux audio environment a very + interesting one. +

      +

      - Like many distributions, Ubuntu has decided to use PulseAudio as the - default audio system. PulseAudio is a rich and capable system that - provides excellent services for typical users of Linux on the - desktop. However, it is not capable of the type of performance that - tools like Ardour require and in particular does not offer the - possibility of sending audio between applications that can make the - Linux audio environment a very interesting one. -

      -

      - This would not be a problem if it were not for the fact that JACK - will not run correctly (if at all) if it needs to use the same - soundcard/audio interface that PulseAudio is using. And since on - Ubuntu, PulseAudio is configured by default to always use the - (typically single) audio interface on your computer, this is a bit - of a problem. -

      -

      - The developers of JACK and PulseAudio got together in 2009 and - agreed upon a mechanism by which PulseAudio and JACK could cooperate - in their use of a single soundcard. Whether or not PulseAudio is running by - default, when JACK starts up it sends out a request to use the - soundcard. If PulseAudio is running, it will give up its use of the - soundcard to allow JACK to take over (and can optionally be told to - route its own audio through JACK). When JACK finishes, it sends out - another message, and PulseAudio can once again use the soundcard - directly. + This would not be a problem if it were not for the fact that JACK will not + run correctly (if at all) if it needs to use the same soundcard/audio + interface that PulseAudio is using. And since, PulseAudio on Ubuntu is + configured by default to always use the (typically single) audio interface on + the computer, this is a bit of a problem.

      + +

      + The developers of JACK and PulseAudio got together in 2009 and agreed upon a + mechanism by which PulseAudio and JACK could cooperate in their use of a + single soundcard. Whether or not PulseAudio is running by default, when JACK + starts up it sends out a request to use the soundcard. If PulseAudio is + running, it will give up its use of the soundcard to allow JACK to take over + (and can optionally be told to route its own audio through JACK). When JACK + finishes, it sends out another message, and PulseAudio can once again use the + soundcard directly. +

      +

      What is the problem?

      +

      - The specific issues known at this time for all flavors of Ubuntu - 12.04 and 12.10 are: + The specific issues known at this time for all flavors of Ubuntu 12.04 and + 12.10 are:

      -
        -
      • a bug in PulseAudio that causes it not to give up the - soundcard when JACK asks - (LP: - #1163638, - fixed in Ubuntu 13.04).
        • -
      + +
        +
      • a bug in PulseAudio that causes it not to give up the soundcard when JACK + asks (LP: + #1163638, fixed in Ubuntu 13.04).
        • +

      Symptoms

      +

      - Cannot start JACK (though see the next section for other - causes of this) + A message like Cannot start JACK in the output from JACK as it + starts up (though see the next section for other causes of this). This output + may be hidden in the Messages window of QJackCtl (aka JACK Control), so one + should check there.

      How to fix

      +

      - These bugs do not affect releases from 13.04, and earlier releases - (12.04 and 12.10) are in the process of being fixed. + These bugs do not affect releases from 13.04, and earlier releases (12.04 and + 12.10) are in the process of being fixed.

      Problems with JACK configuration

      What is the problem?

      -

      - To function as intended, JACK needs to run with access to two - operating system facilities called realtime scheduling and - memory locking. This means that you, the user who starts JACK, must be - allowed access to these facilities. By default, Ubuntu does create a - user group that has this permission but—it does not put new - users into this group by default. Read more about why here. - Consequently, you will not have permission to run JACK in the way you should. -

      + +

      + To function as intended, JACK needs to run with access to two operating + system facilities called realtime scheduling and memory locking. This means that the user who starts JACK must be + allowed access to these facilities. By default, Ubuntu does create a user + group that has this permission but—it does not put new users into this + group by default. Read more about why here. Consequently, + the user will not have permission to run JACK in the way they should. +

      +

      Symptoms

      -

      - A message like Cannot lock down memory in the output from JACK as - it starts up. This output may be hidden in the Messages window of - QJackctrl (aka JACK Control), so you should check there. -

      + +

      + A message like Cannot lock down memory in the output from JACK + as it starts up. This output may be hidden in the Messages window of QJackCtl + (aka JACK Control), so one should check there. +

      How to fix

      -

      - Make sure the file /etc/security/limits.d/audio.conf exists. If it is - named /etc/security/limits.d/audio.conf.disabled, rename it to the former. - Run the command -

      - sudo usermod -a -G audio - YOUR-LOGIN-NAME -

      - Then log out and log in again. On Ubuntu Studio the user is a member of audio - group by default, but not on other official flavors. -

      + +

      + Make sure the file /etc/security/limits.d/audio.conf exists. If it is named + /etc/security/limits.d/audio.conf.disabled, rename it to the former. Run the + command: +

      + +sudo usermod -a -G audio YOUR-LOGIN-NAME + +

      + Then log out and log in again. On Ubuntu Studio the user is a member of audio + group by default, but not on other official flavors. +

      Reporting Issues

      +

      - Given the difficulties in supporting Ubuntu and the limited time/resources - of the Ardour team, the Ubuntu Studio Project has requested that - issues and bug reports related to Ubuntu, Ubuntu Studio and other - derivitives be directed to them. + Given the difficulties in supporting Ubuntu and the limited time and + resources of the Ardour team, the Ubuntu Studio Project has + requested that issues and bug reports related to Ubuntu, Ubuntu Studio and + other derivitives be directed to them.

      +

      Contact Information for Ubuntu Studio

      -

      The Ubuntu Studio Homepage

      -

      The Ubuntu Studio Forums.

      -

      Information on the Ubuntu Studio Mailing Lists.

      -

      Information on the Ubuntu Studio IRC channel. #ubuntustudio on irc.freenode.net

      + +

      + The Ubuntu Studio Homepage +

      + +

      + The Ubuntu Studio + Forums. +

      + +

      + Information + on the Ubuntu Studio Mailing Lists. +

      + +

      + Information on + the Ubuntu Studio IRC channel. #ubuntustudio on irc.freenode.net +

      diff --git a/include/using-external-midi-devices.html b/include/using-external-midi-devices.html deleted file mode 100644 index 9af55c5..0000000 --- a/include/using-external-midi-devices.html +++ /dev/null @@ -1,3 +0,0 @@ - -

      Add content

      - diff --git a/include/using-more-than-one-audio-device.html b/include/using-more-than-one-audio-device.html index 66779b3..9ac57e7 100644 --- a/include/using-more-than-one-audio-device.html +++ b/include/using-more-than-one-audio-device.html @@ -1,79 +1,73 @@

      - Ardour will only ever deal with a single audio device. If you - want to use more than one, you have two choices: + Ardour will only ever deal with a single audio device. When it is + desired to use more than one audio device at the same time, there are two + choices:

      +
        -
      • - If you want to use Ardour to start JACK (which handles all - audio I/O) you will need to create a "fake" audio device on your - computer the represents all the multiple devices you wish to - use. How to do this is platform dependent and described below. -
        • -
      • - Use a different tool to start JACK and manage all the devices. -
        • +
      • Use Ardour to start JACK (which handles all audio I/O), and create a + "fake" audio device which represents all the multiple devices to be used. How + to do this is platform dependent and described below.
        • +
      • Use a different tool to start JACK and manage all the devices.
      +

      - Ardour is fundamentally designed to be a component in a - pro-audio/music creation environment. Standard operating practice - for such setups involves using only a single digital sample - clock (something counting off the time between audio samples). - This means that trying to use multiple independent soundcards is - problematic, because each soundcard has its own sample clock, running - independently from the others. Over time, these different clocks - drift - out of sync with each other, which causes glitches in the audio. You - cannot stop this drift, although in some cases the effects may be - insignificant enough that some people might not care about them. -

      -

      - Thus in an ideal world you should not use multiple independent - soundcards but instead use a single device with a single clock and all - the inputs, outputs and other features that you need. + Ardour is fundamentally designed to be a component in a pro-audio/music + creation environment. Standard operating practice for such setups involves + using only a single digital sample clock (something counting off + the time between audio samples). This means that trying to use multiple + independent soundcards is problematic, because each soundcard has its own + sample clock, running independently from the others. Over time, these + different clocks drift out of sync with each other, which causes + glitches in the audio. This drift cannot be stopped, although in some cases + the effects may be insignificant enough that they might not be noticeable.

      +

      - Of course, a lot of people don't live in an ideal world, and believe - that software should make up for this. + Thus, in an ideal world, a single device with a single clock and all the inputs, outputs and other features needed should be used. Of course, there are those who like to point out that this is not an ideal world, and believe that software should make up for this.

      OS X

      +

      - In CoreAudio, aggregate devices provide a method to use - multiple soundcards as a single device. For example, you can - aggregate two 8-channel devices so that you can record 16 channels - into Ardour. + In CoreAudio, aggregate devices provide a method to use multiple + soundcards as a single device. For example, two eight-channel devices can be + aggregated so that 16 channels can be recorded in Ardour.

      +

      - If you are using a single typical 3rd party - audio interface (such as those from Apogee, RME, Presonus, and many - others), or you are using JackPilot or a similar - application to start JACK, you do not need to worry about this.
      - You will need to set up an aggregate device only if either - of the following conditions are true: -

      + When using a single typical 3rd party audio interface (such as those + from Apogee, RME, Presonus, and many others), or using JackPilot or + a similar application to start JACK, there is no need to worry about any of + this. An aggregate device only needs to be set up if any of the following + conditions are true: +
        -
      • You want to use two entirely separate - devices and want to start JACK using Ardour.
        • -
      • You want to use your builtin audio device and - want to start JACK using Ardour.
        • -
      • You want to use more than two entirely separate devices
        • +
      • Two entirely separate devices are used and JACK is started using + Ardour
        • +
      • A builtin audio device is used and JACK is started + using Ardour
        • +
      • More than two entirely separate devices are used
      +

      - In the case of your builtin audio device, you will need to create - an aggregate device that combines "Builtin Input" and "Builtin - Output" into one device. + In the case of a builtin audio device, an aggregate device that combines + "Builtin Input" and "Builtin Output" into one device needs to be created.

      +

      - The precise instructions for creating an aggregate device on OS X - have varied from one released to another. Please read https://support.apple.com/en-us/HT202000 + The precise instructions for creating an aggregate device on OS X have varied + from one released to another. Please read https://support.apple.com/en-us/HT202000.

      Linux

      +

      Please see the instructions at http://jackaudio.org/faq + title="http://jackaudio.org/faq/">http://jackaudio.org/faq.

      diff --git a/include/using-windows-vst-plugins-on-linux.html b/include/using-windows-vst-plugins-on-linux.html index 1fccbdf..628617e 100644 --- a/include/using-windows-vst-plugins-on-linux.html +++ b/include/using-windows-vst-plugins-on-linux.html @@ -62,3 +62,4 @@ users—thousands of users—on Linux who would like to use your plugins.

      + diff --git a/master-doc.txt b/master-doc.txt index 17c5367..68110a8 100644 --- a/master-doc.txt +++ b/master-doc.txt @@ -119,7 +119,7 @@ part: chapter --- title: Default Keyboard Bindings -menu_title: Key Bindings +menu_title: Default Key Bindings include: default-keyboard-bindings.html link: default-keyboard-bindings uri: default-keyboard-bindings @@ -128,7 +128,7 @@ part: subchapter --- title: Mnemonic Bindings for Linux -menu_title: Linux +menu_title: Linux Bindings include: mnemonic-bindings-for-linux.html link: mnemonic-bindings-for-linux uri: default-keyboard-bindings/mnemonic-bindings-for-linux @@ -137,6 +137,7 @@ part: subchapter --- title: Mnemonic Bindings for OS X +menu_title: OS X Bindings include: mnemonic-bindings-for-os-x.html link: mnemonic-bindings-for-os-x uri: default-keyboard-bindings/mnemonic-bindings-for-os-x @@ -165,7 +166,7 @@ part: subchapter --- --- -title: Mouse +title: The Right Mouse include: mouse.html link: mouse uri: setting-up-your-system/mouse @@ -212,6 +213,7 @@ part: chapter --- title: Connecting Audio and MIDI Devices +menu_title: Audio and MIDI Devices include: connecting-audio-and-midi-devices.html link: connecting-audio-and-midi-devices uri: setting-up-your-system/connecting-audio-and-midi-devices @@ -220,6 +222,7 @@ part: subchapter --- title: Using More Than One Audio Device +menu_title: More Than One Audio Device include: using-more-than-one-audio-device.html link: using-more-than-one-audio-device uri: setting-up-your-system/using_more_than_one_audio_device @@ -227,27 +230,12 @@ part: subchapter --- --- -title: Preferences -include: preferences.html -link: preferences -part: chapter ---- - ---- -title: Preferences and Session Properties -include: preferences-and-session-properties.html -link: preferences-and-session-properties -uri: preferences-and-session-properties -part: subchapter ---- - ---- -title: Global Preferences Dialog +title: Global Preferences menu_title: Global Preferences include: global-preferences-dialog.html link: global-preferences-dialog uri: preferences-and-session-properties/preferences-dialog -part: subchapter +part: chapter --- --- @@ -368,12 +356,12 @@ part: subchapter --- --- -title: Session Properties Dialog +title: Session Properties menu_title: Session Properties include: session-properties-dialog.html link: session-properties-dialog uri: preferences-and-session-properties/session-properties-dialog -part: subchapter +part: chapter --- --- @@ -461,23 +449,8 @@ part: subchapter title: Configuring MIDI include: configuring-midi.html link: configuring-midi -part: chapter ---- - ---- -title: Using External MIDI Devices -include: using-external-midi-devices.html -link: using-external-midi-devices -uri: setting-up-your-system/using-external-midi-devices -part: subchapter ---- - ---- -title: Setting Up MIDI -include: setting-up-midi.html -link: setting-up-midi uri: setting-up-your-system/setting-up-midi -part: subchapter +part: chapter --- ---