From 33c301104caebd44a7aa6fd09d563fc8f622764d Mon Sep 17 00:00:00 2001 From: Shamus Hammons Date: Mon, 12 Dec 2016 10:24:31 -0600 Subject: [PATCH] Initial cleanup of content, new images & content added. --- STYLE_GUIDE | 34 ++- .../03_using-external-midi-devices.html | 1 + .../04_connecting-audio-and-midi-devices.html | 1 + .../05_setting-up-midi/02_midi-on-linux.html | 2 + .../03_kde-plasma-5.html | 56 +++++ _manual/04_ardours-interface.html | 38 ++-- .../01_starting-ardour.html | 11 +- ...starting-ardour-from-the-command-line.html | 6 +- .../01_interface-elements.html | 2 + .../03_selection-techniques.html | 4 +- .../05_undoredo-for-editing-.html | 5 + .../06_using-the-mouse.html | 2 + .../03_introducing-the-editor-window.html | 2 + .../01_editor-lists/03_snapshot-list.html | 15 +- .../02_the-editing-toolbar.html | 3 + .../03_the-transport-bar.html | 1 + .../04_introducing-the-mixer-window.html | 1 + .../05_using-ardour-clock-displays.html | 10 +- _manual/04_ardours-interface/06_meters.html | 34 ++- _manual/05_controlling-playback.html | 16 +- .../01_looping-the-transport.html | 1 + .../02_positioning-the-playhead.html | 7 +- .../03_using-key-bindings.html | 1 + .../04_using-the-nudge-controls.html | 4 +- .../05_using-the-transport-bar.html | 2 +- .../01_creating-location-markers.html | 2 +- .../02_creating-range-markers.html | 2 + .../05_loop-range.html | 3 + .../07_punch-range.html | 3 + _manual/07_working-with-sessions.html | 2 + .../01_new-session-dialog.html | 3 +- .../05_interchange-with-other-daws.html | 2 +- .../03_using-aatranslator.html | 10 +- .../07_session-templates.html | 2 + .../07_working-with-sessions/09_metadata.html | 2 +- .../02_corresponding-regions-selection.html | 5 +- .../03_region-context-menu.html | 2 + .../03_playlist_usecases.html | 4 +- .../01_track-types.html | 79 ++++--- .../02_adding-tracks-and-busses.html | 12 +- .../01_layering-display.html | 11 +- .../02_track-coloring.html | 1 + .../03_track-height.html | 2 +- .../04_waveform-display.html | 2 - .../01_reordering-tracks.html | 2 - .../06_bus-controls.html | 10 +- .../07_audio-track-controls.html | 6 +- .../08_midi-track-controls.html | 19 +- .../09_track-context-menu.html | 76 +++++-- .../10_track-and-bus-groups.html | 85 ++++--- _manual/11_working-with-plugins.html | 38 +--- .../01_processor-box.html | 83 +++++++ .../02_plugin-manager.html | 30 +-- .../03_plugin-sidebar.html | 37 +++ .../03_processor-box.html | 62 ----- ...s.html => 04_managing-plugin-presets.html} | 14 +- .../04_plugin-sidebar.html | 38 ---- .../05_windows-vst-support.html | 63 ------ ...ing-with-ardour-built-plugin-editors.html} | 14 +- .../06_ardour-shipped-plugins.html | 32 +++ .../07_getting-plugins.html | 135 ++++------- .../08_windows-vst-support.html | 69 ++++++ .../01_import-dialog.html | 22 +- .../02_copying-versus-linking.html | 23 +- ...earching-and-importing-from-freesound.html | 1 + .../04_searching-for-files-using-tags.html | 15 +- _manual/13_recording.html | 2 + .../01_latency-considerations.html | 5 +- .../01_monitoring/02_monitor-signal-flow.html | 65 +++--- .../03_monitor-setup-in-ardour.html | 13 +- .../02_track-recording-modes.html | 1 - _manual/14_signal-routing.html | 25 +- _manual/14_signal-routing/01_aux-sends.html | 31 ++- .../02_comparing-aux-sends-and-subgroups.html | 14 +- .../14_signal-routing/03_external-sends.html | 5 +- _manual/14_signal-routing/04_inserts.html | 4 +- _manual/14_signal-routing/06_subgrouping.html | 2 +- _manual/14_signal-routing/07_Patchbay.html | 103 +++------ _manual/14_signal-routing/08_signal-flow.html | 34 +-- _manual/15_editing-and-arranging.html | 1 + .../01_edit-point.html | 1 + .../02_select-regions.html | 3 + .../03_which-regions-are-affected.html | 12 +- .../04_snap-to-the-grid.html | 13 +- .../05_common-region-edit-operations.html | 2 +- .../06_change-region-lengths.html | 3 +- .../01_pushpull-trimming.html | 19 +- .../08_move-regions.html | 4 +- ...09_create-region-fades-and-crossfades.html | 213 +++++++++--------- .../10_separation.html | 1 + .../10_separation/01_separate-under.html | 18 +- .../10_separation/02_separate-range.html | 3 +- .../11_strip-silence-from-audio-regions.html | 14 +- .../12_edit-midi.html | 41 ++-- .../12_edit-midi/01_fundamental-concepts.html | 5 + .../12_edit-midi/02_create-midi-tracks.html | 3 + .../12_edit-midi/03_create-midi-regions.html | 12 +- .../12_edit-midi/04_add-new-notes.html | 28 +-- .../05_change-note-properties.html | 33 +-- .../06_handle-overlapping-notes.html | 6 +- .../12_edit-midi/08_note-selection.html | 2 +- .../12_edit-midi/09_quantize-midi.html | 10 +- .../12_edit-midi/10_step-entry.html | 34 +-- .../12_edit-midi/11_patch-change.html | 17 +- .../12_edit-midi/12_copy-midi-region.html | 14 +- _manual/16_automation.html | 2 + _manual/16_automation/01_midi-scenes.html | 10 +- _manual/17_mixing.html | 2 + _manual/17_mixing/01_muting-and-soloing.html | 2 +- .../17_mixing/02_panning/01_mono_panner.html | 1 + .../02_panning/03_stereo_panner.html | 91 ++++---- .../17_mixing/02_panning/04_vbap_panner.html | 20 +- _manual/18_exporting/01_export-dialog.html | 115 +++++----- .../02_edit-export-format-profile.html | 146 ++++++------ .../02_latency-and-latency-compensation.html | 9 +- .../03_timecode-generators-and-slaves.html | 52 ++++- _manual/20_default-keyboard-bindings.html | 16 +- .../01_preferences-dialog.html | 5 +- .../01_preferences-dialog/01_misc.html | 2 +- .../01_preferences-dialog/02_transport.html | 2 +- .../01_preferences-dialog/03_editor.html | 2 +- .../01_preferences-dialog/04_audio.html | 2 +- .../01_preferences-dialog/05_solomute.html | 2 +- .../01_preferences-dialog/06_midi.html | 2 +- .../01_preferences-dialog/07_interaction.html | 2 +- .../08_control_surfaces.html | 2 +- .../01_preferences-dialog/09_video.html | 2 +- .../01_preferences-dialog/10_plugins.html | 2 +- .../01_preferences-dialog/11_gui.html | 2 +- .../01_preferences-dialog/12_metering.html | 2 +- .../01_preferences-dialog/13_theme.html | 2 +- .../02_session-properties-dialog.html | 11 +- .../01_timecode.html | 2 +- .../02_session-properties-dialog/02_sync.html | 2 +- .../03_fades.html | 2 +- .../04_media.html | 2 +- .../05_locations.html | 2 +- .../06_filenames.html | 2 +- .../07_monitoring.html | 4 +- .../08_meterbridge.html | 5 +- .../02_session-properties-dialog/09_misc.html | 4 +- ...es-using-mackielogic-control-protocol.html | 16 +- _manual/23_video-timeline/03_operations.html | 21 +- .../25_tempo-meter/01_tempo-and-meter.html | 200 +++++++++------- .../images/209-ARDOUR_1_2_1.png | Bin .../images/216-ARDOUR_1_2_1.png | Bin .../images/225-ARDOUR_1_2_1.png | Bin .../images/226-ARDOUR_1_2_1.png | Bin source/images/No%20problem.gif | Bin 384569 -> 0 bytes .../a3 => images}/a3_after_push_trim.png | Bin .../a3 => images}/a3_after_separate_under.png | Bin source/{files/a3 => images}/a3_after_trim.png | Bin .../a3 => 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.../a4_session_properties_monitoring.png | Bin .../a4_session_properties_sync.png | Bin .../a4_session_properties_timecode.png | Bin .../add-track-or-bus.png | Bin .../diagrams => images}/ardour-monitoring.png | Bin .../{files => images}/bigclock-recording.png | Bin source/{files => images}/bigclock.png | Bin source/{files => images}/clockedit.png | Bin .../connection-manager.png | Bin .../edit-export-format-profile.png | Bin .../edit-session-metadata.png | Bin .../diagrams => images}/editor-summary.png | Bin .../export-dialog-channels.png | Bin .../export-dialog-file-format.png | Bin .../export-dialog-stem-export.png | Bin .../export-dialog-timespan.png | Bin .../external-monitoring.png | Bin source/images/fav-dnd-dialog.png | Bin 0 -> 10935 bytes source/images/favorite-plugins.png | Bin 0 -> 33917 bytes .../jack-latency-excerpt.png | Bin .../diagrams => images}/jack-monitoring.png | Bin .../diagrams => images}/latency-chain.png | Bin .../ltc-transport-alignment.png | Bin 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images}/track-in-group.png | Bin .../typical-audio-track-controls.png | Bin .../typical-bus-controls.png | Bin .../typical-midi-track-controls.png | Bin 241 files changed, 1619 insertions(+), 1249 deletions(-) create mode 100644 _manual/03_setting-up-your-system/08_platform-specifics/03_kde-plasma-5.html create mode 100644 _manual/11_working-with-plugins/01_processor-box.html create mode 100644 _manual/11_working-with-plugins/03_plugin-sidebar.html delete mode 100644 _manual/11_working-with-plugins/03_processor-box.html rename _manual/11_working-with-plugins/{01_managing-plugin-presets.html => 04_managing-plugin-presets.html} (94%) delete mode 100644 _manual/11_working-with-plugins/04_plugin-sidebar.html delete mode 100644 _manual/11_working-with-plugins/05_windows-vst-support.html rename _manual/11_working-with-plugins/{06_working-with-ardour-built-plugin-editors.html => 05_working-with-ardour-built-plugin-editors.html} (68%) create mode 100644 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source/{ardour/manual/html/screenshots => images}/typical-bus-controls.png (100%) rename source/{ardour/manual/html/diagrams => images}/typical-midi-track-controls.png (100%) diff --git a/STYLE_GUIDE b/STYLE_GUIDE index be65d63..7ab923b 100644 --- a/STYLE_GUIDE +++ b/STYLE_GUIDE @@ -114,9 +114,9 @@ is renamed or moved to another sub-directory, links should be ok. encloses a newly introduced term that is being explained. Use for the first occurrence of the main concept of every manual page, or the first occurrence -of a new concept after a sub-heading if necessary. Renders in bold face. -Keep in mind that tags might be used to generate an index of keywords -- don't pollute it too much. +of a new concept after a sub-heading if necessary. Renders in bold face. Keep +in mind that tags might be used to generate an index of keywords--don't +pollute it too much. is used to explain an abbreviation such as LADSPA. Browsers will usually pop up the definition when the user hovers over the word. Renders as dotted underlined in most browsers. On each page, use only for the first occurrence of every abbreviation. Avoid -a redundant explanation in the text - the expansion can easily be extracted +a redundant explanation in the text--the expansion can easily be extracted via CSS for printing. Use only in the text body, not in headings. @@ -138,6 +138,7 @@ is used to strongly emphasize a word. Commonly rendered in bold. See above for usage.
+Most of the time, these should be avoided, and used very infrequently. A line-break can sometimes be used to structure a paragraph, or to split a longish heading. Never use spurious
s at the end of paragraphs or to control the spacing of sections. If you're unhappy with those, fix the CSS @@ -191,6 +192,9 @@ So if you want the user to press Ctrl-N on Linux, that's actually N. It will render as "Ctrl N" for you, and as "Cmd N" for your Mac-using friend. Nice, uh? +N.B.: If you want to have just the name of the modifier key by itself, use +

block. 5. Other conventions ==================== @@ -240,21 +245,25 @@ flow. kind of subtle inflection, use semantic markup instead. * The hyphen is used to for compound words such as this well-advised example. * Do not hyphenate words at line breaks. -* For breaks in thought — such as this splendid example — use - the long em-dash. -* For ranges of values, use the en-dash: Monday – Friday, 0 – - 11. +* For breaks in thought—such as this splendid example—use + the long em-dash. Note that the em-dash is snugged up against the text on both + sides--this is the proper way to use them. +* For ranges of values, use the en-dash: Monday–Friday, 0–11. Note + again, the en-dash is snugged up to its surrounding elements. * Use a non-breaking space (" ") between a number and its unit. 5.2 Language ------------ -* The Ardour manual is written in Americal English spelling. +* The Ardour manual is written in American English spelling. * Use SI units with standard abbreviations. Give imperial units only as additional information, if at all. * Do not use contractions like "you'll", always write full forms. -* Do not over-use "You", write about the program, not the user. +* Do not over-use "You", write about the program, not the user. Avoid it if at + all possible, it makes for tighter and better reading text. +* Always write out numbers less than 11. E.g., "One or two ..." instead of + "1 or 2 ...". 5.3 Chapter Headline Capitalization @@ -297,6 +306,8 @@ content per heading and you do not expect the article to grow. * If pages grow long, consider splitting them into sub-chapters at their headings. * Nobody needs "the next paragraph is about the following" paragraphs. +* When creating a

NOTE

, *do not* put the word NOTE into + the note, the styling tells the user that it is a note. 5.6. Encoding ------------- @@ -306,3 +317,4 @@ headings. HTML character entities instead, for example for cursor arrows: → ← ↑ ↓. Diacriticals on vowels and other special letters are probably ok by now, so don't bother with é and friends, just type é. + diff --git a/_manual/03_setting-up-your-system/03_using-external-midi-devices.html b/_manual/03_setting-up-your-system/03_using-external-midi-devices.html index c40ff1e..ac1f968 100644 --- a/_manual/03_setting-up-your-system/03_using-external-midi-devices.html +++ b/_manual/03_setting-up-your-system/03_using-external-midi-devices.html @@ -3,6 +3,7 @@ layout: default title: Using External MIDI Devices --- +

Add content

diff --git a/_manual/03_setting-up-your-system/04_connecting-audio-and-midi-devices.html b/_manual/03_setting-up-your-system/04_connecting-audio-and-midi-devices.html index c9c7ce9..3170767 100644 --- a/_manual/03_setting-up-your-system/04_connecting-audio-and-midi-devices.html +++ b/_manual/03_setting-up-your-system/04_connecting-audio-and-midi-devices.html @@ -3,6 +3,7 @@ layout: default title: Connecting Audio and MIDI Devices --- +

Add content

diff --git a/_manual/03_setting-up-your-system/05_setting-up-midi/02_midi-on-linux.html b/_manual/03_setting-up-your-system/05_setting-up-midi/02_midi-on-linux.html index f775c83..c32a1f7 100644 --- a/_manual/03_setting-up-your-system/05_setting-up-midi/02_midi-on-linux.html +++ b/_manual/03_setting-up-your-system/05_setting-up-midi/02_midi-on-linux.html @@ -72,3 +72,5 @@ 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.

+ +

Is this true anymore in Ardour 5? This section may have been relevant in Ardour 3, but it might not be relevant anymore.

diff --git a/_manual/03_setting-up-your-system/08_platform-specifics/03_kde-plasma-5.html b/_manual/03_setting-up-your-system/08_platform-specifics/03_kde-plasma-5.html new file mode 100644 index 0000000..9b7a838 --- /dev/null +++ b/_manual/03_setting-up-your-system/08_platform-specifics/03_kde-plasma-5.html @@ -0,0 +1,56 @@ +--- +layout: default +title: KDE Plasma 5 +--- + +

+ Under KDE Plasma 5, plugin and various other windows will not stay + on top of any main window; therefore a workaround is required. +

+ +

Workaround for ancillary windows not staying on top in KDE Plasma 5

+

+ In order to force ancillary windows in Ardour to stay on top, the following + steps are necessary: +

+
    +
  1. Launch the System Settings application.
    2. +
  2. Open Workspace > Window Managment.
    3. +
  3. Select Window Rules in the left-hand sidebar. It + should default to the Window matching tab.
    4. +
  4. Click on the New... button.
    5. +
  5. On the line that says Window class (application), + set the combo box to Substring Match and type ardour in the text entry field.
    6. +
  6. In the list box that is labeled Window types:, + click on the option Dialog Window, then press and + hold Ctrl while clicking on the second option Utility Window.
    7. +
  7. Select the Arrangement & Access tab.
    8. +
  8. Check the box next to the Keep above option. On + the same line, select Force from the combo box, then + click on the Yes radio button for that line.
    9. +
  9. Click on the OK button to dismiss the dialog. +
    10. +
+

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

+ +

Background Info

+

+ According to one of + the lead KDE developers, they are not willing to follow the ICCCM standard + for utility windows. Apparently they are alone in this understanding, as + plugin windows on Ardour under Linux work out of the box on every other WM out there. +

+

+ Under KDE 4, there was a workaround in Ardour (Preferences + > Theme > All floating windows are dialogs) that would "trick" + KDE into forcing certain window types to be on top of their parent windows, + but this no longer works under KDE Plasma 5. +

+ diff --git a/_manual/04_ardours-interface.html b/_manual/04_ardours-interface.html index 7a37dce..c30c941 100644 --- a/_manual/04_ardours-interface.html +++ b/_manual/04_ardours-interface.html @@ -4,37 +4,27 @@ title: Ardour's Interface ---

- In Ardour, you work in two main windows: the Editor and the + In Ardour, work is done in two main windows: the Editor and the Mixer.

- + +

+

- 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. + The Editor window includes the editor track canvas where audio and MIDI data can be arranged along a timeline. This is the window used while editing and arranging a session. This window has a general horizontal sense to it: the timeline flows from left to right, and the playhead showing the current position in the session moves from left to right—the window represents time in a fairly literal way.

- + +

+

- 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 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. + The Mixer window on the other hand represents signal flow and is the window likely used most when mixing a session. It includes channel strips for each track and bus in the 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.

+

- 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. + It is possible to show a single channel strip in the editor window, and this can be enough to work on mixing without actually opening the mixer window. Most of the time though, both of these windows will be needed at various stages of a session's lifetime—sometimes the focus is on editing, other times the focus is on mixing.

{% children %} + diff --git a/_manual/04_ardours-interface/01_starting-ardour.html b/_manual/04_ardours-interface/01_starting-ardour.html index f47ae90..accad49 100644 --- a/_manual/04_ardours-interface/01_starting-ardour.html +++ b/_manual/04_ardours-interface/01_starting-ardour.html @@ -7,35 +7,40 @@ title: Starting Ardour There are several ways of starting Ardour, which may vary depending on which platform you are using it.

+
  • double-click the Ardour icon in your platform's file manager (e.g. Nautilus on Linux, Finder on OS X)
  • double click on an Ardour session file in your platform's file manager
  • on Linux, you can also start Ardour on - the command line
    • + href="/ardours-interface/starting-ardour/starting-ardour-from-the-command-line">on the command line
+

When Ardour is run for the very first time, a special dialog is displayed that will ask you several questions about your setup. You will not be asked these questions again, but you can always modify your choices via the Edit > Preferences dialog.

+ +

This may have been true in the past, but now, considering that the startup dialog lets one tune JACK parameters up front, this is prety much bollocks. The rest is wrong as well

In general, it is sensible to start JACK before you run Ardour. This is not necessary, but will provide you with more control and options over JACK's operation.

+

If you open Ardour without specifying an existing session it will display the Session > New... dialog. If JACK is not already running, there will be an extra Audio Engine tab in that dialog to configure JACK, which Ardour will then start automatically.

+

If you did specify an existing session but JACK is not already running, the New Session dialog will contain just the Audio Engine tab.

- {% children %} + diff --git a/_manual/04_ardours-interface/01_starting-ardour/01_starting-ardour-from-the-command-line.html b/_manual/04_ardours-interface/01_starting-ardour/01_starting-ardour-from-the-command-line.html index eb18620..756bcf0 100644 --- a/_manual/04_ardours-interface/01_starting-ardour/01_starting-ardour-from-the-command-line.html +++ b/_manual/04_ardours-interface/01_starting-ardour/01_starting-ardour-from-the-command-line.html @@ -10,11 +10,11 @@ menu_title: Starting from Linux Cmdline Like (almost) any other program on Linux, Ardour can be started on the command line. Type the following command in a terminal window:

-ardour3 +ardour5

To start Ardour with an existing session:

-ardour3 /path/to/session +ardour5 /path/to/session

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, @@ -23,6 +23,6 @@ menu_title: Starting from Linux Cmdline

To start Ardour with a new, named session:

-ardour3 -N /path/to/session +ardour5 -N /path/to/session

Other Command Line Options

diff --git a/_manual/04_ardours-interface/02_basic-gui-operations/01_interface-elements.html b/_manual/04_ardours-interface/02_basic-gui-operations/01_interface-elements.html index b25c57b..01b0910 100644 --- a/_manual/04_ardours-interface/02_basic-gui-operations/01_interface-elements.html +++ b/_manual/04_ardours-interface/02_basic-gui-operations/01_interface-elements.html @@ -10,3 +10,5 @@ title: Interface Elements

Context Menus

Browsers

+

Add content

+ diff --git a/_manual/04_ardours-interface/02_basic-gui-operations/03_selection-techniques.html b/_manual/04_ardours-interface/02_basic-gui-operations/03_selection-techniques.html index cf569ed..ed1d206 100644 --- a/_manual/04_ardours-interface/02_basic-gui-operations/03_selection-techniques.html +++ b/_manual/04_ardours-interface/02_basic-gui-operations/03_selection-techniques.html @@ -49,9 +49,9 @@ title: Selection Techniques undo/redo stack. This stack is cleared each time the content of the timeline changes. If you have built up a complex selection and then accidentally cleared it, - choosing Edit > Undo Selection Change will restore your - previous selection. + choosing Edit > Undo Selection Change will restore your previous selection. If you then decide that you had in fact made the correct change, choosing Edit > Redo Selection Change will take you back to where you were before you chose Edit > Undo Selection Change.

+ diff --git a/_manual/04_ardours-interface/02_basic-gui-operations/05_undoredo-for-editing-.html b/_manual/04_ardours-interface/02_basic-gui-operations/05_undoredo-for-editing-.html index b543170..ac02c5e 100644 --- a/_manual/04_ardours-interface/02_basic-gui-operations/05_undoredo-for-editing-.html +++ b/_manual/04_ardours-interface/02_basic-gui-operations/05_undoredo-for-editing-.html @@ -34,3 +34,8 @@ title: Undo/Redo for Editing There is also an undo for selection. See Selection Techniques for more information.

+ +

+ Note that changes made to mixer strips, such as turning knobs or changing faders, cannot be undone. +

+ diff --git a/_manual/04_ardours-interface/02_basic-gui-operations/06_using-the-mouse.html b/_manual/04_ardours-interface/02_basic-gui-operations/06_using-the-mouse.html index 10f1c25..f1564d1 100644 --- a/_manual/04_ardours-interface/02_basic-gui-operations/06_using-the-mouse.html +++ b/_manual/04_ardours-interface/02_basic-gui-operations/06_using-the-mouse.html @@ -124,3 +124,5 @@ title: Using the Mouse vertically or horizontally inside a window.

+

Should add some mention of drag & drop operations; the "Dragging" section above doesn't mention it at all.

+ diff --git a/_manual/04_ardours-interface/03_introducing-the-editor-window.html b/_manual/04_ardours-interface/03_introducing-the-editor-window.html index a3ed1b1..3377ada 100644 --- a/_manual/04_ardours-interface/03_introducing-the-editor-window.html +++ b/_manual/04_ardours-interface/03_introducing-the-editor-window.html @@ -3,4 +3,6 @@ layout: default title: Introducing the Editor Window --- +

Add content

+ {% children %} diff --git a/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/03_snapshot-list.html b/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/03_snapshot-list.html index 84f7b59..f8a7579 100644 --- a/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/03_snapshot-list.html +++ b/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/03_snapshot-list.html @@ -1,11 +1,14 @@ --- layout: default title: Snapshot List ---- +--- +

+ This list gives the snapshots that exist of this session. Clicking on a snapshot + name will load that snapshot. +

+

+ See Working with Sessions for more + information on snapshots. +

- - -

This list gives the snapshots that exist of this session. Clicking on a snapshot name will load that snapshot.

-

See Working with Sessions for more information on snapshots.

- diff --git a/_manual/04_ardours-interface/03_introducing-the-editor-window/02_the-editing-toolbar.html b/_manual/04_ardours-interface/03_introducing-the-editor-window/02_the-editing-toolbar.html index a680b99..269fcee 100644 --- a/_manual/04_ardours-interface/03_introducing-the-editor-window/02_the-editing-toolbar.html +++ b/_manual/04_ardours-interface/03_introducing-the-editor-window/02_the-editing-toolbar.html @@ -3,6 +3,8 @@ layout: default title: The Editing Toolbar --- +

Need toolbar image

+

Mouse Modes

Object Mode
@@ -79,3 +81,4 @@ title: The Editing Toolbar mode in the lower half.

+

Add missing content

diff --git a/_manual/04_ardours-interface/03_introducing-the-editor-window/03_the-transport-bar.html b/_manual/04_ardours-interface/03_introducing-the-editor-window/03_the-transport-bar.html index 06e791a..dce2c6c 100644 --- a/_manual/04_ardours-interface/03_introducing-the-editor-window/03_the-transport-bar.html +++ b/_manual/04_ardours-interface/03_introducing-the-editor-window/03_the-transport-bar.html @@ -3,6 +3,7 @@ layout: default title: The Transport Bar --- +

Add content

diff --git a/_manual/04_ardours-interface/04_introducing-the-mixer-window.html b/_manual/04_ardours-interface/04_introducing-the-mixer-window.html index fecfae5..2cd38be 100644 --- a/_manual/04_ardours-interface/04_introducing-the-mixer-window.html +++ b/_manual/04_ardours-interface/04_introducing-the-mixer-window.html @@ -3,6 +3,7 @@ layout: default title: Introducing the Mixer Window --- +

Add content

diff --git a/_manual/04_ardours-interface/05_using-ardour-clock-displays.html b/_manual/04_ardours-interface/05_using-ardour-clock-displays.html index 55fbbd4..b2a69fc 100644 --- a/_manual/04_ardours-interface/05_using-ardour-clock-displays.html +++ b/_manual/04_ardours-interface/05_using-ardour-clock-displays.html @@ -19,7 +19,7 @@ title: Using Ardour Clock Displays transport clock and the right one is the secondary transport clock. They look like this:

-An image of the transport clocks in Ardour 3 +An image of the transport clocks in Ardour 3

Editing the time in the transport clocks will reposition the playhead in the same way that various other editing operations will. @@ -36,7 +36,7 @@ title: Using Ardour Clock Displays large big clock window filling a good part of the display, and on the right, the same clock during active recording.

-an image of the big clock filling a screen an image of the big clock while recordingan image of the big clock filling a screen an image of the big clock while recording

The Special Role of the Secondary Transport Clock

@@ -63,7 +63,7 @@ title: Using Ardour Clock Displays selection range, so the selection clocks show an "off" state.

-An image of the the selection and punch clocks in Ardour 3 +An image of the the selection and punch clocks in Ardour 3

Clock Modes

@@ -134,7 +134,7 @@ title: Using Ardour Clock Displays appear in a different color, from right to left, overwriting the existing value. Mid-edit, after typing 3 2 2 2 the clock might look like this:

-An image of a clock being edited in Ardour 3 +An image of a clock being edited in Ardour 3

To finish the edit, press ↵ or Tab. To exit an edit without changing the clock press ESC. If you mis-type an entry @@ -196,4 +196,4 @@ title: Using Ardour Clock Displays decreases it, again with a step size equal to the unit of the field you began the drag on.

- + diff --git a/_manual/04_ardours-interface/06_meters.html b/_manual/04_ardours-interface/06_meters.html index 3d5fa99..7438fd8 100644 --- a/_manual/04_ardours-interface/06_meters.html +++ b/_manual/04_ardours-interface/06_meters.html @@ -4,6 +4,7 @@ title: Metering in Ardour ---

Introduction

+

An engineer reading and using audio level meters compares to a musician reading or writing sheet-music. Just like there are virtuoso musicians @@ -11,14 +12,17 @@ title: Metering in Ardour go by their ears and produce great mixes and masters without ever looking at a single meter.

+

Yet, if you want to work in or with the broadcast industry, it is usually unavoidable to use meters.

+

Audio level meters are very powerful tools that are useful in every part of the entire production chain:

+
  • When tracking, meters are used to ensure that the input signal does not overload and maintains reasonable @@ -34,11 +38,13 @@ title: Metering in Ardour

Meter Types

+

A general treatise on metering is beyond the scope of this manual. It is a complex subject with a history... For background information and further reading we recommend:

+
  • How To Make Better Recordings in the 21st Century - An Integrated Approach to Metering, Monitoring, and Leveling Practices by Bob Katz. Has a good historic overview of meters and motivates the K-meter
  • Wikipedia: Peak programme meter - overview of meter types.
    • @@ -121,10 +127,12 @@ title: Metering in Ardour

    Ardour Specifics

    -mixer strip meter context menu +mixer strip meter context menu +

    Meters are available in various places in ardour:

    +
    • The mixer window features fixed height meters for each channel strip.
    • There are small (narrow) meters on each track-header in the editor window.
      • @@ -132,12 +140,14 @@ title: Metering in Ardour
    • Optionally, a fixed-size master meter can be displayed in the main toolbar.
    • Various other locations (file import, sends) have level-meters.
    +

    They all share the same configuration and color-theme which is available in preferences and the theme-manager. Settings for the Peak and RMS+Peak meters as well as VU meter standards are found in Edit > Preferences > GUI > Metering.

    +

    The type of meter and the metering point (the place in the signal chain where the meter taps the signal) are configurable in the context menu of each meter. @@ -145,11 +155,14 @@ title: Metering in Ardour Strip settings, the metering point is also accessible via a button in each Mixer strip.

    - + + +

    Regardless of meter type and standard the meter display will highlight red if the signal on the given channel exceeds the configured peak threshold.

    +

    Left on the peak-indicator button resets the peak-hold indicator of a single channel.
    @@ -160,19 +173,18 @@ title: Metering in Ardour

    Overview of meter types

    - The figure on the left shows all available meter-types in Ardour 3.4 when fed with a - -18 dBFS 1 kHz sine wave. + The figure on the left below shows all available meter-types in Ardour 3.4 when fed with a -18 dBFS 1 kHz sine wave.

    -Needle-style meters as external LV2 plugins -Bar-graph meters in Ardour +

    - Due to layout concerns and consistent look&feel all meters available in - Ardour itself are bar-graph type meters. Corresponding needle-style meters - — which take up more visual screen space — are available as - LV2 plugins (see image on the right): - meters.lv2. + Due to layout concerns and consistent look & feel, all meters available in + Ardour itself are bar-graph type meters. Corresponding needle-style meters—which take up more visual screen space—are available as + LV2 plugins (see image on the upper right).

    + diff --git a/_manual/05_controlling-playback.html b/_manual/05_controlling-playback.html index aef84cd..48ec2b8 100644 --- a/_manual/05_controlling-playback.html +++ b/_manual/05_controlling-playback.html @@ -2,18 +2,16 @@ layout: default title: Controlling Playback --- - + +

    There is no discussion of starting playback anywhere in here. Starting/stopping needs to be explained

    +

    - Ardour offers many ways to control playback of your session, - including the transport bar, key bindings and remote controls. - You can also use markers to define locations or ranges within - the session and rapidly move around between them. + Ardour offers many ways to control playback of the session, including the transport bar, key bindings and remote controls. Markers can also be used to define locations or ranges within the session and rapidly move around between them.

    +

    - If you synchronize Ardour with other devices then some or - all of these control methods may be unavailable — depending on - the synchronization protocol, Ardour may respond only to commands - sent from its master device(s). + If Ardour is synchronized with other devices, then some or all of these control methods may be unavailable—depending on the synchronization protocol, Ardour may respond only to commands sent from its master device(s).

    {% children %} + diff --git a/_manual/05_controlling-playback/01_looping-the-transport.html b/_manual/05_controlling-playback/01_looping-the-transport.html index d158369..fa1e3a2 100644 --- a/_manual/05_controlling-playback/01_looping-the-transport.html +++ b/_manual/05_controlling-playback/01_looping-the-transport.html @@ -18,3 +18,4 @@ title: Looping the Transport Loop Range Markers.

    +

    Broken link

    diff --git a/_manual/05_controlling-playback/02_positioning-the-playhead.html b/_manual/05_controlling-playback/02_positioning-the-playhead.html index 48291ff..65167ae 100644 --- a/_manual/05_controlling-playback/02_positioning-the-playhead.html +++ b/_manual/05_controlling-playback/02_positioning-the-playhead.html @@ -34,7 +34,8 @@ title: Positioning the Playhead here.

    - Alternatively, place the pointer on the marker and press - P to set the playhead. + The playhead can also be moved backward and forward through the markers by + respectively pressing the Q and W keys. Pressing + Home and End will move the playhead to the special + markers start and end, respectively.

    - diff --git a/_manual/05_controlling-playback/03_using-key-bindings.html b/_manual/05_controlling-playback/03_using-key-bindings.html index 7d54b09..de49620 100644 --- a/_manual/05_controlling-playback/03_using-key-bindings.html +++ b/_manual/05_controlling-playback/03_using-key-bindings.html @@ -25,3 +25,4 @@ title: Using Key Bindings

    Commands without default bindings include:

    +

    Add content

    diff --git a/_manual/05_controlling-playback/04_using-the-nudge-controls.html b/_manual/05_controlling-playback/04_using-the-nudge-controls.html index 07f3d08..03cfbb0 100644 --- a/_manual/05_controlling-playback/04_using-the-nudge-controls.html +++ b/_manual/05_controlling-playback/04_using-the-nudge-controls.html @@ -2,7 +2,9 @@ layout: default title: Using the Nudge Controls --- - + +

    Add image of Nudge Controls +

    If there are no selected objects, the nudge controls can be used to move the playhead backward or forward by a fixed amount. The left diff --git a/_manual/05_controlling-playback/05_using-the-transport-bar.html b/_manual/05_controlling-playback/05_using-the-transport-bar.html index 32ccec2..d501114 100644 --- a/_manual/05_controlling-playback/05_using-the-transport-bar.html +++ b/_manual/05_controlling-playback/05_using-the-transport-bar.html @@ -3,7 +3,7 @@ layout: default title: Using the Transport Bar --- - +

    Add content

    diff --git a/_manual/06_working-with-markers/01_creating-location-markers.html b/_manual/06_working-with-markers/01_creating-location-markers.html index 210ab8e..73a99b9 100644 --- a/_manual/06_working-with-markers/01_creating-location-markers.html +++ b/_manual/06_working-with-markers/01_creating-location-markers.html @@ -5,7 +5,7 @@ title: Creating Location Markers

    Location Markers appear in the Locations ruler at the top - of the timeline. The begin and end markers appear + of the timeline. The start and end markers appear automatically, but you can create custom markers at any position in a session.

    diff --git a/_manual/06_working-with-markers/02_creating-range-markers.html b/_manual/06_working-with-markers/02_creating-range-markers.html index 42b7a1f..62c5522 100644 --- a/_manual/06_working-with-markers/02_creating-range-markers.html +++ b/_manual/06_working-with-markers/02_creating-range-markers.html @@ -2,6 +2,8 @@ layout: default title: Creating Range Markers --- + +

    Add images

    Range markers are essentially two location markers the are grouped diff --git a/_manual/06_working-with-markers/05_loop-range.html b/_manual/06_working-with-markers/05_loop-range.html index 4f09cda..45b4985 100644 --- a/_manual/06_working-with-markers/05_loop-range.html +++ b/_manual/06_working-with-markers/05_loop-range.html @@ -3,6 +3,8 @@ layout: default title: The Loop Range --- +

    Missing content +

    The loop range is a special range that defines the start and end points for loop play, which can be enabled in the transport bar. @@ -13,4 +15,5 @@ title: The Loop Range list.

    +

    Broken links diff --git a/_manual/06_working-with-markers/07_punch-range.html b/_manual/06_working-with-markers/07_punch-range.html index ab42855..c62c12d 100644 --- a/_manual/06_working-with-markers/07_punch-range.html +++ b/_manual/06_working-with-markers/07_punch-range.html @@ -3,6 +3,8 @@ layout: default title: Punch Range --- +

    Missing content +

    The punch range is a special range used to define where recording will start and/or stop during a punch. @@ -13,4 +15,5 @@ title: Punch Range list.

    +

    Broken links diff --git a/_manual/07_working-with-sessions.html b/_manual/07_working-with-sessions.html index 4123fd0..34681b8 100644 --- a/_manual/07_working-with-sessions.html +++ b/_manual/07_working-with-sessions.html @@ -3,4 +3,6 @@ layout: default title: Working With Sessions --- +

    Need a brief description or a link to it from the intro + {% children %} diff --git a/_manual/07_working-with-sessions/01_new-session-dialog.html b/_manual/07_working-with-sessions/01_new-session-dialog.html index a150562..aad5490 100644 --- a/_manual/07_working-with-sessions/01_new-session-dialog.html +++ b/_manual/07_working-with-sessions/01_new-session-dialog.html @@ -3,6 +3,8 @@ layout: default title: New/Open Session Dialog --- +

    Info is out of date, image needs updating

    +

    The initial Session dialog consists of several consecutive pages:

    @@ -111,4 +113,3 @@ Setup Dialog"/> ALSA drivers or the (preferred) new JACK+ALSA implementation.
-{% children %} diff --git a/_manual/07_working-with-sessions/05_interchange-with-other-daws.html b/_manual/07_working-with-sessions/05_interchange-with-other-daws.html index 0b0e2e5..7473aea 100644 --- a/_manual/07_working-with-sessions/05_interchange-with-other-daws.html +++ b/_manual/07_working-with-sessions/05_interchange-with-other-daws.html @@ -21,8 +21,8 @@ title: Interchange with other DAWs

Moving an Ardour session to another DAW

To move an Ardour session to another DAW, you have 3 basic choices:

    -
  • Stem exports
  • Copy the interchange folder
    • +
  • Stem exports
  • Use AATranslator

Moving another DAW session to Ardour

diff --git a/_manual/07_working-with-sessions/05_interchange-with-other-daws/03_using-aatranslator.html b/_manual/07_working-with-sessions/05_interchange-with-other-daws/03_using-aatranslator.html index 696ea80..1d53847 100644 --- a/_manual/07_working-with-sessions/05_interchange-with-other-daws/03_using-aatranslator.html +++ b/_manual/07_working-with-sessions/05_interchange-with-other-daws/03_using-aatranslator.html @@ -2,11 +2,11 @@ layout: default title: Using AATranslator --- - +

AATranslator 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 + into other formats. At the present time (December 2016), it can read and write Ardour 2.X sessions, and can read Ardour 3 sessions.

@@ -20,6 +20,6 @@ title: Using AATranslator has full details on supported formats and DAWs. The list includes ProTools, Live, Reaper, OMF, AAF and many more.

-AATranslator Demo Animation - - +

+ AATranslator is closed-source, non-free software (as of this writing, Dec. 2016, the cost is 60 USD for the "Standard" version, and 200 USD for the "Enhanced" version). +

diff --git a/_manual/07_working-with-sessions/07_session-templates.html b/_manual/07_working-with-sessions/07_session-templates.html index ccf3fdc..e72919a 100644 --- a/_manual/07_working-with-sessions/07_session-templates.html +++ b/_manual/07_working-with-sessions/07_session-templates.html @@ -33,3 +33,5 @@ title: Session Templates on templates for individual tracks or busses.

+

Broken link

+ diff --git a/_manual/07_working-with-sessions/09_metadata.html b/_manual/07_working-with-sessions/09_metadata.html index 702175e..cdb0f53 100644 --- a/_manual/07_working-with-sessions/09_metadata.html +++ b/_manual/07_working-with-sessions/09_metadata.html @@ -10,4 +10,4 @@ Sessions can have various items of metadata attached to them, via

Edit Session Metadata Dialog

- + diff --git a/_manual/08_working-with-regions/02_corresponding-regions-selection.html b/_manual/08_working-with-regions/02_corresponding-regions-selection.html index 6846401..324d5e4 100644 --- a/_manual/08_working-with-regions/02_corresponding-regions-selection.html +++ b/_manual/08_working-with-regions/02_corresponding-regions-selection.html @@ -14,8 +14,9 @@ title: Corresponding Regions Selection drum kit to multiple tracks. You have created a track group, added all the drum tracks, enabled the group and enabled the Select property for the group. When you select a region in one of the drum tracks, Ardour will select the - corresponding region in every other drum track, which in turn means that a - subsequent edit operation will affect all the drum tracks together. + corresponding region in every other drum track in the group, which in turn + means that a subsequent edit operation will affect all the grouped drum + tracks together.

How Ardour Decides Which Regions are "Corresponding"

diff --git a/_manual/08_working-with-regions/03_region-context-menu.html b/_manual/08_working-with-regions/03_region-context-menu.html index 2b8a473..dac3b40 100644 --- a/_manual/08_working-with-regions/03_region-context-menu.html +++ b/_manual/08_working-with-regions/03_region-context-menu.html @@ -3,6 +3,8 @@ layout: default title: Region Context Menu --- +

Need to add detail to the context menu table to describe what the options do

+

In the editor window, right clicking (context clicking) on a region displays a menu with track and region operations. The menu begins with the diff --git a/_manual/09_working-with-playlists/03_playlist_usecases.html b/_manual/09_working-with-playlists/03_playlist_usecases.html index f14915f..fab7b05 100644 --- a/_manual/09_working-with-playlists/03_playlist_usecases.html +++ b/_manual/09_working-with-playlists/03_playlist_usecases.html @@ -33,7 +33,9 @@ title: Playlist Usecases

If you want to create a composite edit from multiple takes, create a new track to assemble the final version, and "cherry pick" from the playlists - in the original track by copying regions over as required.
+ in the original track by copying regions over as required. +

+

Alternatively, record each successive take on top of the others in "layers" and then edit them using the layer tools, explained later. diff --git a/_manual/10_working-with-tracks/01_track-types.html b/_manual/10_working-with-tracks/01_track-types.html index 02dfcb9..4fc3305 100644 --- a/_manual/10_working-with-tracks/01_track-types.html +++ b/_manual/10_working-with-tracks/01_track-types.html @@ -10,6 +10,7 @@ title: Track Types

Track types

+

An Ardour track can be of type audio or MIDI, depending on the data that the track will primarily record @@ -19,11 +20,13 @@ title: Track Types MIDI data from disk but would produce audio, since the instrument plugin would turn MIDI data into audio data.

+

Nevertheless, when adding tracks to a session, you typically have an idea of what you need to use the new tracks for, and Ardour offers you three choices:

+
Audio
An Audio Track is created with a user-specified number of @@ -44,82 +47,98 @@ title: Track Types
Audio/MIDI
There are a few notable plugins that can usefully accept both Audio and MIDI data (Reaktor is one, and various "auto-tune" like plugins - are another). It can be tricky to configure this type of track manually, + are another). It can be tricky to configure this type of track manually, so Ardour allows you to select this type specifically for use with such plugins. It is not generally the right choice when working normal MIDI tracks, and a dialog will warn you of this.

Track Modes

+

Audio tracks in Ardour have a mode which affects how they behave when recording:

+
Normal
-
Tracks in normal mode will record non-destructively — - new data is written to new files, and when overdubbing, new regions will be - layered on top of existing ones. This is the recommended mode for most workflows. +
Tracks in normal mode will record non-destructively—new + data is written to new files, and when overdubbing, new regions will be + layered on top of existing ones. This is the recommended mode for most + workflows.
Non-Layered
-
Tracks using non-layered mode will record non-destructively - — new data is written to new files, but when overdubbing, the existing +
Tracks using non-layered mode will record non-destructively—new data is written to new files, but when overdubbing, + the existing regions are trimmed so that there are no overlaps. This does not affect the previously recorded audio data, and trimmed regions can be expanded again at will. Non-layered mode can be very useful for spoken word material, - especially in combination with push/pull trimming. + especially in combination with push/pull trimming. + +

Broken link

+
Tape
Tape-mode tracks do destructive recording: all data is recorded to a single file and if you overdub a section of existing - data, the existing data is destroyed irrevocably — there is no undo. + data, the existing data is destroyed irrevocably—there is no undo. Fixed crossfades are added at every punch in and out point. This mode can be useful for certain kinds of re-recording workflows, but it not suggested for normal use.
-normal and non-layered overdubbing comparision +

The screenshot on the right shows the subtle difference between an overdub in normal mode (upper track) and one in non-layered mode - (lower track). Both tracks were created using identical audio data.
+ (lower track). Both tracks were created using identical audio data. +

+ +

The upper track shows a new region which has been layered on top of the the existing (longer) region. You can see this if you look - carefully at the region name strips.
- The lower track has split the existing region in two, trimmed each new - region to create space for the new overdub, and inserted the overdub region - in between. + carefully at the region name strips. The lower track has split the existing + region in two, trimmed each new region to create space for the new overdub, + and inserted the overdub region in between.

Channel Configuration

+

- Ardour tracks can have any number of inputs and any number of outputs, and the - number of either can be changed at any time (subject to restrictions caused by - any plugins in a track). However it is useful to not have to configure this sort - of thing for the most common cases, and so the - Add Tracks dialog allows you to - select "Mono", "Stereo" and few other typical multichannel presets
+ Ardour tracks can have any number of inputs and any number of outputs, and + the number of either can be changed at any time (subject to restrictions + caused by any plugins in a track). However it is useful to not have to + configure this sort of thing for the most common cases, and so the + Add Tracks dialog allows you + to select "Mono", "Stereo" and few other typical multichannel presets. The name of the preset describes the number of input channels of the track or bus.

+

If you have configured Ardour to automatically connect new tracks and busses for you, the number of outputs will be determined by the number of inputs of the master bus, - to which the track outputs will be connected.
+ to which the track outputs will be connected. +

+ +

For example, if you have a two-channel master bus, then a Mono track has one input and two outputs; a Stereo track has two inputs and two outputs.

+

- If you you set Edit > Preferences > Audio + Setting Edit > Preferences > Audio > Connection of Tracks and Busses to manual, then tracks will be left disconnected by default - and there will be as many outputs as there are inputs. It is up to you to connect - them as you wish. This is not a particularly useful way to work unless you are doing - something fairly unusual with signal routing and processing. It is almost always - preferable to leave Ardour to make connections automatically, even if you later - change some of them manually. + class="menu">manual will leave tracks disconnected by default + and there will be as many outputs as there are inputs. It is up to you to + connect them as you wish. This is not a particularly useful way to work + unless you are doing something fairly unusual with signal routing and + processing. It is almost always preferable to allow Ardour to make + connections automatically, even if some of them have to be changed manually + at some point.

- - + diff --git a/_manual/10_working-with-tracks/02_adding-tracks-and-busses.html b/_manual/10_working-with-tracks/02_adding-tracks-and-busses.html index 4565b77..475a45e 100644 --- a/_manual/10_working-with-tracks/02_adding-tracks-and-busses.html +++ b/_manual/10_working-with-tracks/02_adding-tracks-and-busses.html @@ -3,18 +3,22 @@ layout: default title: Adding Tracks and Busses --- -the add-track dialog +the add-track dialog +

A track or bus can be added to a session in various ways:

+
  • Choose Track > Add Track or Bus.
  • Right-click in an empty part of the track controls area.
  • Click the Plus (+) button underneath the list of tracks in the mixer.
+

Any of these actions will open the Add Track or Bus dialog. Note that any new tracks from this dialog will appear after the last currently selected track, or at the end if no track is selected.

+
Add
Here you can select the number of tracks or busses you wish to create, and @@ -22,7 +26,9 @@ title: Adding Tracks and Busses
Configuration
This menu lets you choose from a number of route templates, which determine the number of input ports and optionally - contain plugins and other mixer strip configuration.
+ contain plugins and other mixer strip configuration. +

Broken link

+
Track mode
This option is only available for audio tracks. See Track Modes for details.
Instrument
@@ -34,6 +40,7 @@ title: Adding Tracks and Busses record enable, or editing, for example). This option lets you assign to an existing group, or create a new group.
+

New tracks appear in both the editor and mixer windows. The editor window shows the timeline, with any recorded data, and the mixer shows just the @@ -41,6 +48,7 @@ title: Adding Tracks and Busses

Removing Tracks and Busses

+

To remove tracks and busses, select them, right-click and choose +

Ardour allows arbitrary layering of regions — you can have as many regions you wish at a given position. By default, the regions are overlaid in the editor window, to save vertical space.

+

However, this display mode can be confusing for tracks with many overdubs, because its not obvious in which order the overdubs are layered. Although @@ -20,18 +22,23 @@ alt="Track layering menu" /> there are times when being able to clearly see all regions in a track without any overlaps is reassuring and useful.

+

Here is an image of a track with a rather drastic overdub situation, viewed in normal overlaid mode:

-overlapping regions in overlaid mode + +overlapping regions in overlaid mode +

To change this display, right click on the track header, and you'll see the menu displayed above. There are two choices for layers. overlaid is currently selected. Click on stacked and the track display changes to this:

-overlapping regions in stacked mode + +overlapping regions in stacked mode +

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 diff --git a/_manual/10_working-with-tracks/04_controlling-track-appearance/02_track-coloring.html b/_manual/10_working-with-tracks/04_controlling-track-appearance/02_track-coloring.html index 867adde..fc79bb1 100644 --- a/_manual/10_working-with-tracks/04_controlling-track-appearance/02_track-coloring.html +++ b/_manual/10_working-with-tracks/04_controlling-track-appearance/02_track-coloring.html @@ -15,6 +15,7 @@ title: Track Color Color and pick a hue to your taste in the color dialog. Every selected track will be re-colored. +

Broken link

Note that if you are only changing one track, context-clicking on diff --git a/_manual/10_working-with-tracks/04_controlling-track-appearance/03_track-height.html b/_manual/10_working-with-tracks/04_controlling-track-appearance/03_track-height.html index 227fc28..5f5151b 100644 --- a/_manual/10_working-with-tracks/04_controlling-track-appearance/03_track-height.html +++ b/_manual/10_working-with-tracks/04_controlling-track-appearance/03_track-height.html @@ -28,7 +28,7 @@ title: Track Height Choose Track > Height > Fit Selected Tracks or use the keyboard shortcut, f. Ardour adjusts the track heights and view so that the selected tracks completely fill the vertical - space available, unless the tracks cannot be fitted even at the smallest + space available, unless the tracks cannot be made to fit even at the smallest possible size.

diff --git a/_manual/10_working-with-tracks/04_controlling-track-appearance/04_waveform-display.html b/_manual/10_working-with-tracks/04_controlling-track-appearance/04_waveform-display.html index 61c53c8..0d9b124 100644 --- a/_manual/10_working-with-tracks/04_controlling-track-appearance/04_waveform-display.html +++ b/_manual/10_working-with-tracks/04_controlling-track-appearance/04_waveform-display.html @@ -41,5 +41,3 @@ title: Waveform display - -{% children %} diff --git a/_manual/10_working-with-tracks/05_controlling-track-ordering/01_reordering-tracks.html b/_manual/10_working-with-tracks/05_controlling-track-ordering/01_reordering-tracks.html index 772a993..591ac9c 100644 --- a/_manual/10_working-with-tracks/05_controlling-track-ordering/01_reordering-tracks.html +++ b/_manual/10_working-with-tracks/05_controlling-track-ordering/01_reordering-tracks.html @@ -50,5 +50,3 @@ title: Reordering Tracks in the editor window via the keyboard shortcuts after adding them (see above).

- -{% children %} diff --git a/_manual/10_working-with-tracks/06_bus-controls.html b/_manual/10_working-with-tracks/06_bus-controls.html index 05477aa..20e1e0f 100644 --- a/_manual/10_working-with-tracks/06_bus-controls.html +++ b/_manual/10_working-with-tracks/06_bus-controls.html @@ -4,7 +4,7 @@ title: Bus Controls ---

A typical control area or bus header is shown below:

-bus controls +bus controls

At the top-left of the controls is the name of the bus, which can be @@ -14,17 +14,17 @@ title: Bus Controls

m
-
Mute — click to mute the bus. Right-click to display +
Mute—click to mute the bus. Right-click to display a menu which dictates what particular parts of the bus should be muted.
s
-
Solo — solo the bus. The behaviour of the solo system +
Solo—solo the bus. The behaviour of the solo system is described in detail in the section Muting and Soloing.
a
-
Automation — opens the automation menu for the +
Automation—opens the automation menu for the bus. For details see Automation.
g
-
Group — lets you assign the bus to an existing or a +
Group—lets you assign the bus to an existing or a new group. For details see Track and bus groups.
diff --git a/_manual/10_working-with-tracks/07_audio-track-controls.html b/_manual/10_working-with-tracks/07_audio-track-controls.html index 5669e8a..3a8703f 100644 --- a/_manual/10_working-with-tracks/07_audio-track-controls.html +++ b/_manual/10_working-with-tracks/07_audio-track-controls.html @@ -7,7 +7,7 @@ title: Audio Track Controls A typical control area or track header for an audio track is shown below:

-audio track controls

An audio track has the same @@ -16,11 +16,11 @@ title: Audio Track Controls

[•]
-
Record — The button with the pink circle arms the track +
Record—The button with the pink circle arms the track for recording. When armed, the entire button will turn pink, and change to bright red as soon as the transport is rolling and the track is recording.
p
-
Playlist — Opens a playlist menu when clicked. The menu +
Playlist—Opens a playlist menu when clicked. The menu offers various operations related to the track's playlist.
diff --git a/_manual/10_working-with-tracks/08_midi-track-controls.html b/_manual/10_working-with-tracks/08_midi-track-controls.html index f154ffe..bd893bf 100644 --- a/_manual/10_working-with-tracks/08_midi-track-controls.html +++ b/_manual/10_working-with-tracks/08_midi-track-controls.html @@ -4,7 +4,7 @@ title: MIDI Track Controls ---

A typical MIDI track header looks like this:

-midi track controls

@@ -25,15 +25,16 @@ title: MIDI Track Controls

To the right of the MIDI track controls is a representation of a piano keyboard - called the scroomer. This performs a couple of functions. - The scrollbar controls the range of pitches that are visible on the - track, as visualized by the piano keyboard.
- Drag the body of the scrollbar up and down to display higher or lower - pitches.
- Drag the scrollbar handles to zooms in and out and increase and decrease the - range of visible pitches.
- clicking on the piano plays the corresponding MIDI note for reference. + called the scroomer (a portmanteau of scrollbar and zoomer). This performs several functions:

+
    +
  • The scrollbar controls the range of pitches that are visible on the + track, as visualized by the piano keyboard.
    • +
  • Dragging the body of the scrollbar up and down displays higher or lower + pitches.
    • +
  • Dragging the scrollbar handles zooms in and out and increases and decreases the range of visible pitches.
    • +
  • Clicking on the piano plays the corresponding MIDI note for reference.
    • +

To edit the contents of a MIDI track see Edit MIDI. diff --git a/_manual/10_working-with-tracks/09_track-context-menu.html b/_manual/10_working-with-tracks/09_track-context-menu.html index 6badb70..5900f6a 100644 --- a/_manual/10_working-with-tracks/09_track-context-menu.html +++ b/_manual/10_working-with-tracks/09_track-context-menu.html @@ -15,6 +15,7 @@ title: Track Context Menu the next item in the menu is Choose Top. If selected, you will see a dialog that allows you to change the vertical order of layers at that point. See Controlling Region Layering for more details. +

Broken link

The rest of the track context menu is structured as follows: @@ -23,8 +24,8 @@ title: Track Context Menu

Play
-
Play from Edit Point
-
Play from the location of the current edit point.
+
Play from Edit Point
+
Play from the location of the current edit point.
Play from Start
Play from the start of the session
Play Region(s)
@@ -35,40 +36,71 @@ title: Track Context Menu
Select All in Track
-
Select All
+
Selects all regions in a track
+
Select All Objects
+
Selects all regions in the session
Invert Selection in Track
+
Invert Selection
+
Set Range to Loop Range
+
Set Range to Punch Range
+
Select All After Edit Point
+
Select All Before Edit Point
+
Select All After Playhead
+
Select All Before Playhead
+
Select All Between Playhead and Edit Point
+
Select All Within Playhead and Edit Point
+
Select Range Between Playhead and Edit Point
+
Edit
-
Cut
-
Copy
-
Paste
-
Align
-
Align Relative
-
-
-
Insert Selected Region
-
Insert Existing Media
-
Nudge
-
-
-
Nudge Entire Track Later
-
Nudge Track After Edit Point Later
-
Nudge Entire Track Earlier
-
Nudge Track After Edit Point Earlier
-
-
-
Freeze
+
Cut
+
+
Copy
+
+
Paste
+
+
Align
+
+
Align Relative
+
+
+
+
Insert Selected Region
+
+
Insert Existing Media
+
+
Nudge
+
+
+
Nudge Entire Track Later
+
+
Nudge Track After Edit Point Later
+
+
Nudge Entire Track Earlier
+
+
Nudge Track After Edit Point Earlier
+
+
+
+
Freeze
+
+ +

+This text here to prevent following FIXME from corrupting the above table +

+

Add missing content

+ diff --git a/_manual/10_working-with-tracks/10_track-and-bus-groups.html b/_manual/10_working-with-tracks/10_track-and-bus-groups.html index f9afc5d..64a0023 100644 --- a/_manual/10_working-with-tracks/10_track-and-bus-groups.html +++ b/_manual/10_working-with-tracks/10_track-and-bus-groups.html @@ -5,16 +5,19 @@ title: Track and Bus Groups

Tracks and busses can be put into groups. Members of a group - can share various settings — useful for managing tracks that are closely + can 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).

+

You can group tracks and busses in various ways. In the editor window, a track's controls might look like these:

-track headers for a group + +track headers for a group +

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 @@ -22,9 +25,11 @@ title: Track and Bus Groups

Create New Groups

+

There are several ways to create groups for tracks and bussess:

+
  • Context-click on the group tab and use one of the Create... options there. You can create a group with @@ -41,11 +46,13 @@ title: Track and Bus Groups

Remove Groups

+

Context-click on a group tab and select Remove Group from the menu. Removing a group does not remove the members of a group.

+

You can also remove groups by selecting them in the Groups tab of the Editor Lists @@ -54,17 +61,20 @@ title: Track and Bus Groups

Add/Remove Tracks and Busses From a Group

+

Click the g button to display a menu with a list of the available groups. Select one of these groups to add the track or bus to that group. Select No Group to remove it.

+

Alternatively, you can also drag a group tab to add or remove tracks from the group.

Activate/Deactivate Groups via the Group Tab

+

Clicking on a group tab toggles the group between being active and inactive. An inactive group has no effect when editing its members. An active group @@ -72,15 +82,17 @@ title: Track and Bus Groups groups are coloured grey.

Modify Group Properties

+

To edit the properties of a group, context-click on its tab and choose Edit Group…. This opens the track/bus group dialog, which is also used when creating new groups:

-the track/bus group dialog +the track/bus group dialog

Group Color

+

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 @@ -89,6 +101,7 @@ title: Track and Bus Groups

Shared Properties

+

Gain means that the track faders will be synced to always have the same value; Relative means that the @@ -98,6 +111,7 @@ title: Track and Bus Groups gain of -6 dB will result in the second track having a gain of -4 dB (the difference of the gains remains the same).

+

Muting, Soloing, @@ -108,45 +122,50 @@ title: Track and Bus Groups are all straightforward. They simply mean that all member tracks or busses will share the same settings in these respects.

+

Selection means that if a region is selected or deselected on one member track, corresponding regions on other member tracks will be similarly selected. Since region editing operations are applied to all - currently selected regions, this is the way to make edits apply across all tracks - in the group. + currently selected regions, this is the way to make edits apply across all tracks in the group.

+

Broken link

+

Group Tab Context Menu

+

Context-clicking on the group tab offers a further menu of group-related actions.

+
-
Create a New Group
-
create a new group
-
Create New Group from...
-
create a new group and automatically add ... -
-
Selected
-
all currently selected tracks and busses
-
Rec-enabled
-
all currently record-enabled tracks
-
Soloed
-
all currently soloed tracks and busses
-
-
-
Collect Group
-
moves all the member tracks so that they are together in the editor window
-
Remove Group
-
removes the group (and only the group, not its members).
-
Add New Subgroup Bus
-
creates a bus (giving it the name of the group) and connects the output of each member to the new bus. -
-
Add New Aux Bus
-
adds a bus and gives each member a send to that bus. There are two options for this, specifying whether the sends should be placed pre- or post-fader.
-
Fit to Window
-
will zoom the member tracks so that they fill the editor window.
-
Enable All Groups
-
makes all group active, including any hidden groups.
-
Disable All Groups
-
makes all groups inactive, including any hidden groups.
+
Create a New Group
+
create a new group
+
Create New Group from...
+
create a new group and automatically add ... +
+
Selected
+
all currently selected tracks and busses
+
Rec-enabled
+
all currently record-enabled tracks
+
Soloed
+
all currently soloed tracks and busses
+
+
+
Collect Group
+
moves all the member tracks so that they are together in the editor window
+
Remove Group
+
removes the group (and only the group, not its members).
+
Add New Subgroup Bus
+
creates a bus (giving it the name of the group) and connects the output of each member to the new bus. +
+
Add New Aux Bus
+
adds a bus and gives each member a send to that bus. There are two options for this, specifying whether the sends should be placed pre- or post-fader.
+
Fit to Window
+
will zoom the member tracks so that they fill the editor window.
+
Enable All Groups
+
makes all group active, including any hidden groups.
+
Disable All Groups
+
makes all groups inactive, including any hidden groups.
+ diff --git a/_manual/11_working-with-plugins.html b/_manual/11_working-with-plugins.html index ae054ad..2958667 100644 --- a/_manual/11_working-with-plugins.html +++ b/_manual/11_working-with-plugins.html @@ -3,27 +3,15 @@ layout: default title: Working With Plugins --- - - -

Plugins are bits of software that get loaded by Ardour in order to:

-
    -
  • Create various audio or MIDI effects -
    • -
  • Generate audio by functioning as "software instruments" -
    • -
- -

Ardour does not come with any built-in signal processors of its own -(other than volume faders) and it also generally doesn't ship with any -plugins. They are written by 3rd parties, though we do provide some - information on how to get them. +

+ Plugins are bits of software that get loaded by Ardour in order to create various audio or MIDI effects, or generate audio by functioning as "software instruments".

-Ardour supports a variety of different plugin standards: + Ardour supports a variety of different plugin standards:

-
+
LADSPA
An early, simple, lightweight plugin API, audio effects only, @@ -31,7 +19,7 @@ Ardour supports a variety of different plugin standards:
LV2
An extensible, full-featured plugin API, audio and MIDI, plugins can provide their - own GUIs
+ own GUIs; the successor to LADSPA
AU
OS X only, full featured, audio and MIDI, plugins can provide their own GUI
@@ -40,25 +28,15 @@ Ardour supports a variety of different plugin standards:
on Linux
(native) Linux VST plugins fully supported (VST2.4)
on Windows
(native) Windows VST plugins fully supported (VST2.4)
-
on OS X
Not supported, unless you use a VST<>AU +
on OS X
Not supported, unless you use a VST-to-AU bridge plugin. Similar to Apple's Logic DAW.
Windows VST Plugins on Linux
-
VST plugins for Windows, but being used on Linux. Not - supported by normal builds of Ardour. Read - more... +
VST plugins for Windows, but being used on Linux. Normally not supported. See Windows VST Plugins on Linux for details.
-

Adding/Removing/Copying Plugins

- -

Within Ardour, plugins are just another type -of Processor and so the techniques for -adding/removing/copying/moving processors apply to plugins as -well. These techniques are covered on -the Processor -Box page.

- {% children %} + diff --git a/_manual/11_working-with-plugins/01_processor-box.html b/_manual/11_working-with-plugins/01_processor-box.html new file mode 100644 index 0000000..2300385 --- /dev/null +++ b/_manual/11_working-with-plugins/01_processor-box.html @@ -0,0 +1,83 @@ +--- +layout: default +title: Processor Box +--- + +

the Processor Box

+ +

+ In Ardour terminology, a processor is anything which treats the signal in some way and gets plugged into a mixer strip. Ardour provides several builtin processors such as the fader or panners. Processors can also be plugins used for effects or as instruments, as well as sends or inserts which affect signal routing. +

+ +

+ The arrangement of processors is arbitrary, and there is no limit to how + many there can be. The Processor Box will automagically add a scrollbar to + itself if there are more processors in it than can be shown in the given space. +

+ +

+ The main box in the top half of a mixer strip shows the processor + box. Processors are shown as colored rectangles, with a small "LED" beside + them that lights up when the processor is enabled. The color of the + processor depends on its location in the sequence; processors that are pre-fader are colored in red, and post-fader processors are colored green (in the default theme). +

+ +

+ The processor box will always contain a blue Fader processor. This indicates where in the processor chain the main channel fader is located; this is the fader shown in the lower half of the strip. It can be enabled and disabled like any other processor. +

+ +

Adding Processors

+

+ Processors can be added to the chain by Right-clicking in the processor list, This does three things: +

+ +
    +
  • A gap is opened up to indicate the location of the click. The gap shows where any new processors will be inserted.
    • +
  • The processor under the click is selected.
    • +
  • An options menu is presented.
    • +
+ +

+ From the menu, new processors can be inserted. +

+ +

+ Processors can also be dragged and dropped from the Favorite Plugins window to an appropriate spot in the Processor Box. +

+ +

+ The Favorite Plugins window can be populated via the Plugin Manager, or by dragging and dropping an existing processor from the processor box to the Favorite Plugins window. +

+ +

To Reorder (Move) Processors

+

+ Processors can be re-ordered using drag & drop. Dragging a processor + allows it to be moved around within the chain, or copied to another + processor list on another track or bus. +

+ +

To Enable/Disable a Processor

+ +

a typical processor

+ +

+ To the left of the name of each processor is a small LED symbol; if this + is lit-up, the processor is active. Clicking on it will deactivate the + processor and effectively bypass it. +

+ +

+ Some processors have their own bypass controls that are independent of the one that Ardour provides; this can make it appear that the plugin is non-responsive when its independent bypass control is active. +

+ +

Selecting Processors

+

+ A processor in the processor box can be selected with a Left-click on it; it will be highlighed in red. Other processors can be selected at the same time by Left-clicking on them while holding down the ‌ key, and ranges can be selected by Left-clicking on them while holding down the Shift key +

+ +

Removing Processors

+

+ Context-click on the processor to be removed, and select Delete; or Right-click on it; or Left-click on it and press the Delete key. If multiple processors are selected, they will all be deleted at the same time. +

+ diff --git a/_manual/11_working-with-plugins/02_plugin-manager.html b/_manual/11_working-with-plugins/02_plugin-manager.html index ce58207..ff648a8 100644 --- a/_manual/11_working-with-plugins/02_plugin-manager.html +++ b/_manual/11_working-with-plugins/02_plugin-manager.html @@ -3,45 +3,30 @@ layout: default title: Plugin Manager --- +

This needs updating; it was written for v3 or v4, and it's out of date

+

- The Plugin Manager serves two purposes. Primarily it is used to - control the display status of plugins. It can also be used to find and insert - plugins into the - Processor Box. It is - displayed either by a double-click in the Processor Box or by - choosing New Plugin > Plugin Manager... from the - Processor Box context menu. + The Plugin Manager serves two purposes. Primarily it is used to control the display status of plugins. It can also be used to find and insert plugins into the Processor Box. It is displayed either by a double-click in the Processor Box or by choosing New Plugin > Plugin Manager... from the Processor Box context menu.

+

Plugin Manager window

+

Displayed for each plugin is the status (normal, favorite, hidden), name, type, category, creator (author), and the number of audio and MIDI connections. The plugins can be sorted by clicking on a column header.

-Plugin Manager window -

Plugin Display Status

- Click on a Fav(orite) or Hide radio button to change a plugin's display status. - Clicking on an already selected radio button will cancel it, returning the - plugin to the normal display status. Plugins marked as a favorite show up in - the Processor Box context menu under - New Plugin > Favorites. Setting the hide - radio button on a plugin will keep the plugin from showing in the - Processor Box context menus - New Plugin > By Creator or - New Plugin > By Category. + Click on a Fav(orite) or Hide radio button to change a plugin's display status. Clicking on an already selected radio button will cancel it, returning the plugin to the normal display status. Plugins marked as a favorite show up in the Processor Box context menu under New Plugin > Favorites and in Favorite Plugins pane in the Mixer window. Setting the hide radio button on a plugin will keep the plugin from showing in the Processor Box context menus New Plugin > By Creator or New Plugin > By Category.

Filtering Listed Plugins

- The middle of the Plugin Manager is used to filter the listed - plugins. Typing into the text-box will filter the plugins based on the filter - mode selected by drop-down box. Clicking Clear - empties the text-box. + The middle of the Plugin Manager is used to filter the listed plugins. Typing into the text-box will filter the plugins based on the filter mode selected by drop-down box. Clicking Clear empties the text-box.

Inserting Plugins in the Processor Box

@@ -57,3 +42,4 @@ title: Plugin Manager Plugins can be removed from the bottom half with a double click, or, if already selected, by clicking Remove.

+ diff --git a/_manual/11_working-with-plugins/03_plugin-sidebar.html b/_manual/11_working-with-plugins/03_plugin-sidebar.html new file mode 100644 index 0000000..f2df0a2 --- /dev/null +++ b/_manual/11_working-with-plugins/03_plugin-sidebar.html @@ -0,0 +1,37 @@ +--- +layout: default +title: Favorite Plugins Window +--- + +

Favorite Plugins window

+ +

+ The Favorite Plugins window is on the top-left side of the Mixer Window. Like other elements in that window it has variable height and can be hidden by dragging it to zero-height. If it is not visible, the top-handle can be grabbed and dragged down to reveal it. +

+ +

+ Plugin names that have a right facing triangle next to them have presets associated with them; clicking on the triangle will cause all presets associated with the plugin to show in the list. +

+ +

Features

+ +

+ The Favorite Plugins window provides easy access to frequently used plugins: +

+ +
    +
  • Plugins can be dragged from the window to any track or bus processor box, which will add the plugin to that track or bus at the given position.
    • +
  • The list includes user-presets for the plugins. Dragging a preset to a given track or bus will load that preset after adding the plugin.
    • +
  • Double-clicking on a plugin or preset adds the given plugin to all selected tracks/busses pre-fader. Other insert positions are available from the context menu (right click).
    • +
  • +

    Dragging plugin to Favorites window

    + Dragging a plugin from a track into the window will add it to the list and optionally create a new preset from the current settings. The horizontal line in the list shows the spot where the plugin will land. +
    • +
  • The context-menu allows the deletion of presets or removal of the plugin from the list.
    • +
  • Plugins in the list can be re-ordered using drag & drop. The custom order is saved.
    • +
+ +

+ When favorites are added with the Plugin Manager, they are appended to the bottom of the list. +

+ diff --git a/_manual/11_working-with-plugins/03_processor-box.html b/_manual/11_working-with-plugins/03_processor-box.html deleted file mode 100644 index c7bb534..0000000 --- a/_manual/11_working-with-plugins/03_processor-box.html +++ /dev/null @@ -1,62 +0,0 @@ ---- -layout: default -title: Processor Box ---- - -

- In Ardour terminology, a processor is anything which treats the - signal in some way and gets plugged into a mixer strip. - Ardour provides several builtin processors such as the fader or panners. - Processors can also be plugins used for effects or as instruments, as well - as sends or inserts which are affect signal - routing.
- The arrangement of processors is arbitrary, and there is no limit to how - many there can be. -

-

- The main box in the top half of a mixer strip shows the processor - box. - Processors are shown as coloured rectangles, with a small "LED" beside - them that lights up when the processor is enabled. The colour of the - processor depends on its location in the sequence; processors that are pre-fader are - coloured in red, and post-fader processors are coloured green - (in the default theme).

-

- The processor box will always contain a blue Fader processor. - This indicates where in the processor chain the main channel fader is - located — this is the fader shown in the lower half of the strip. -

-

Adding Processors

-

- Processors can be added to the chain by - Right-clicking in the processor list, This does three things: -

-
    -
  • A gap is opened up to indicate the location of the click. The gap - shows where any new processors will be inserted.
    • -
  • The processor under the click is selected.
    • -
  • An options menu is presented.
    • -
-

- From the menu, new processors can be inserted. -

- -

To Reorder (Move) Processors

-

- Processors can be re-ordered using drag-and-drop. Dragging a processor - allows it to be moved around within the chain, or copied to another - processor list on another track or bus. -

- -

To Enable/Disable a Processor

-

- To the left of the name of each processor is a small LED symbol; if this - is lit-up, the processor is active. Clicking on it will deactivate the - processor and effectively bypass it.

- -

Removing Processors

-

- Context-click on the processor you want to remove, and select Delete, or Right-click on it. -

- diff --git a/_manual/11_working-with-plugins/01_managing-plugin-presets.html b/_manual/11_working-with-plugins/04_managing-plugin-presets.html similarity index 94% rename from _manual/11_working-with-plugins/01_managing-plugin-presets.html rename to _manual/11_working-with-plugins/04_managing-plugin-presets.html index a066d1c..fd1ef59 100644 --- a/_manual/11_working-with-plugins/01_managing-plugin-presets.html +++ b/_manual/11_working-with-plugins/04_managing-plugin-presets.html @@ -2,7 +2,9 @@ layout: default title: Managing Plugin Presets --- - + +

Add images

+

All plugin control widgets, whether they are created by Ardour or by the plugin, have a common set of controls at the top of the window. @@ -10,6 +12,7 @@ title: Managing Plugin Presets

What Is a Plugin Preset?

+

A preset for a plugin is simply a saved set of values for all of a plugin's parameters. If you load a preset, you are restoring @@ -19,6 +22,7 @@ title: Managing Plugin Presets

The Preset Selector

+

The preset selector is a regular selector that can be clicked to display a list of all known presets for this plugin. This @@ -27,14 +31,16 @@ title: Managing Plugin Presets

Load a New Preset

+

Click on the preset selector to pop up a menu showing the names of all available presets. Click on the name of the preset you wish to load. - The preset will be loaded — you may see various controls in the + The preset will be loaded—you may see various controls in the plugin editor change to reflect the new value of some or all parameters.

Create a Preset

+

To save the current plugin settings as a new preset, click on the Add button at the top of the window. A dialog @@ -42,6 +48,7 @@ title: Managing Plugin Presets

Save a Preset

+

If you wish to modify the settings in an existing preset, first use the preset selector to load the preset, then adjust the settings as @@ -51,10 +58,11 @@ title: Managing Plugin Presets

Delete a preset

+

To delete an existing preset, use the preset selector to load the preset. Click the Delete button, and the preset will be removed. The preset selector turn blank, showing that no preset is currently loaded (although the settings will stay as they were).

- + diff --git a/_manual/11_working-with-plugins/04_plugin-sidebar.html b/_manual/11_working-with-plugins/04_plugin-sidebar.html deleted file mode 100644 index bb4db1e..0000000 --- a/_manual/11_working-with-plugins/04_plugin-sidebar.html +++ /dev/null @@ -1,38 +0,0 @@ ---- -layout: default -title: Plugin Sidebar ---- - -

- Since Version 4.5, Ardour has a plugin-sidebar on the top-left side of the - Mixer Window. - Like other elements in that sidebar it has variable height and can be hidden - by dragging it to zero-height. If it is not visible, grab the top-handle - and drag it down. -

- -Plugin Sidebar - -

Features

-

- The Plugin sidebar provides easy access to common operations. - All interaction is done with the mouse and Drag/Drop. -

-
    -
  • The sidebar lists "favorite" plugins only.
    • -
  • Plugins can be dragged from the sidebar to any track or bus, which will add the plugin to that track/bus at the given position.
    • -
  • The list includes user-presets for the plugins. Dragging a preset to a given track/bus will load that preset after adding the plugin.
    • -
  • Double-click on a plugin or preset adds the given plugin to all selected tracks/busses pre-fader. Other insert positions are available from the context menu (right click).
    • -
-

- The sidebar also allows to manage presets and favorites. -

-
    -
  • Dragging a plugin from a track into the sidebar will add it to the "favorites" and optionally create a new preset from the current settings.
    • -
  • The context-menu allows to delete presets or remove the plugin from the "favorite" list.
    • -
  • Plugins in the list can be re-ordered using drag/drop. The custom order is saved.
    • -
- -

- Note, when favorites are added with the plugin-manager, they are appended at the bottom of the list. -

diff --git a/_manual/11_working-with-plugins/05_windows-vst-support.html b/_manual/11_working-with-plugins/05_windows-vst-support.html deleted file mode 100644 index e6c375e..0000000 --- a/_manual/11_working-with-plugins/05_windows-vst-support.html +++ /dev/null @@ -1,63 +0,0 @@ ---- -layout: default -title: Using Windows VST Plugins on Linux ---- - -

- Thanks to the combined work of Torben Hohn, Kjetil Mattheusen, Paul - Davis and a few other developers, it is possible to use Windows - VST - plugins (that is, plugins in VST format built and distributed - for the Windows platforms) on Ardour running on Linux. (Note: there - is no VST support of any kind on OS X). -

- -

However, doing so has three substantial downsides:

-
    -
  • It requires a special build of Ardour that is fundamentally - very different from normal builds.
    • -
  • Support depends on Wine, - a Windows "emulator".
    • -
  • As usual with plugins, a crashing plugin will take Ardour down - with it. And crashes in Windows VST plugins are more likely when - used in this way.
    • -
- -

The dependence on Wine makes it almost impossible for the Ardour -project to support this feature. Wine's functionality generally -improves over time, but any given release of Wine may behave worse -with some or all Windows VST plugins. It may even just crash Ardour -completely.

- -

Step back and think about what "using Windows VSTs" really means: -taking bits of software written with only one idea in mind - running -on the Windows platform - and then trying to use them on an entirely -different platform. It is a bit of a miracle (largely thanks to the -incredible work done by the Wine project) that it works at all. But is -this the basis of a stable, reliable DAW for a non-Windows platform? -Getting Ardour on Linux to pretend that its really a Windows -application running on Windows?

- -

We understand that there are many outstanding plugins available as -Windows VSTs and that in many cases, no equivalent is available for -Ardour's Linux-based users. If your workflow is so dependent on those -plugins, then remain on Windows (or potentially consider using an -actual Windows VST host running inside of Wine). If you can make the -effort, you will get a better environment by using a normal build of -Ardour and exploring the world of plugins built to run on Linux -natively. This covers LADSPA, LV2 and Linux VST formats, and even some -outstanding proprietary plugins such as those -from LinuxDSP -and Loomer. -

- -

A Plea To Plugin Manufacturers

-

- Please consider porting your plugins so that users can enjoy them on - Linux too. Several other commercial plugin developers have already - done this. You can choose between using "Linux VST" (which is what - Loomer and others have done) - you will find toolkits like JUCE that - help to make this fairly easy - or using LV2 format which is - ultimately more flexible but probably more work. We have users - - thousands of users - on Linux who would like to use your plugins. -

diff --git a/_manual/11_working-with-plugins/06_working-with-ardour-built-plugin-editors.html b/_manual/11_working-with-plugins/05_working-with-ardour-built-plugin-editors.html similarity index 68% rename from _manual/11_working-with-plugins/06_working-with-ardour-built-plugin-editors.html rename to _manual/11_working-with-plugins/05_working-with-ardour-built-plugin-editors.html index 8be1ede..392ac87 100644 --- a/_manual/11_working-with-plugins/06_working-with-ardour-built-plugin-editors.html +++ b/_manual/11_working-with-plugins/05_working-with-ardour-built-plugin-editors.html @@ -3,27 +3,31 @@ layout: default title: Working with Ardour-built Plugin Editors --- +

This section needs expansion, and at least one image

+

To view a plugin editor, double-click on the plugin within the processor box. A new window will appear showing the editor/GUI for the plugin.

+

If a plugin does not have its own GUI, Ardour will construct a generic plugin editor from a small set of common control elements. Ardour will do this even for plugins that have their - own, if you disable Edit > Preferences > - GUI > Use Plugins' own interface instead of Ardour's + own, if Edit > Preferences > + GUI > Use Plugins' own interface instead of Ardour's is disabled.

+

- You can temporarily switch to the generic UI by context-clicking on + The generic UI can be temporarily switched to by context-clicking on a processor and selecting Edit with generic controls. This will be necessary to access the plugin automation controls.

+

- In the generic UI, you can re-set any controller to its default by + In the generic UI, any controller can be reset to its default by Left-clicking on it.

- diff --git a/_manual/11_working-with-plugins/06_ardour-shipped-plugins.html b/_manual/11_working-with-plugins/06_ardour-shipped-plugins.html new file mode 100644 index 0000000..d0c8b43 --- /dev/null +++ b/_manual/11_working-with-plugins/06_ardour-shipped-plugins.html @@ -0,0 +1,32 @@ +--- +layout: default +title: Plugins Bundled With Ardour +--- + +

+ Ardour now comes with the following plugins as part of a standard installation: +

+ +
+
a-Amplifier
+
A versatile ±20dB multichannel amplifier
+
a-Compressor
+
A side-chain enabled compressor with the usual controls. Comes in stereo and mono versions
+
a-Delay
+
A basic single-tap delay line, with tempo sync
+
a-EQ
+
A nice sounding 4-band parametric EQ with shelves
+
a-Fluid Synth
+
Wraps the Fluidsynth SoundFont2 synthesis engine as a new sample player
+
a-High/Low Pass Filter
+
Independent high and low pass filters with steepness up to 48dB/octave
+
a-Inline Scope
+
A mixer strip inline waveform display
+
a-Inline Spectrogram
+
A mixer strip inline specturm display
+
a-MIDI Monitor
+
A mixer strip inline display to show recent MIDI events
+
a-Reverb
+
A reverb that finds a balance between sounding good, using a lot of CPU and having too many controls
+
+ diff --git a/_manual/11_working-with-plugins/07_getting-plugins.html b/_manual/11_working-with-plugins/07_getting-plugins.html index 6a4d6ae..76e73bd 100644 --- a/_manual/11_working-with-plugins/07_getting-plugins.html +++ b/_manual/11_working-with-plugins/07_getting-plugins.html @@ -1,11 +1,10 @@ --- layout: default -title: Getting Plugins +title: Getting More Plugins ---

- The following list shows plugin packages. In some cases, - a package contains just 1 or 2 plugins; in other cases, dozens. + The following list shows plugin packages. In some cases, a package contains just one or two plugins; in other cases, dozens.

Plugins by Standard

@@ -13,65 +12,38 @@ title: Getting Plugins

LADSPA

LV2

@@ -81,8 +53,7 @@ title: Getting Plugins
  • Loomer http://loomer.co.uk/
  • Distrho http://distrho.sourceforge.net/ports.php
  • Argotlunar http://argotlunar.info/
    • -
  • MDA plugins (a collection ported from Windows - VST) http://www.linux-vst.com/download/mda_linux.tar.gz
    • +
  • MDA plugins (a collection ported from Windows VST) http://www.linux-vst.com/download/mda_linux.tar.gz

    • How do I install plugins?

    @@ -90,52 +61,36 @@ title: Getting Plugins

    Linux

    - Installation will vary a little depending on how you get plugins. If - your repository has a particular plugin package, just install it using - the normal software package management tool for your system. Most - Linux distributions that are good for audio work will have most of - the LADSPA and LV2 plugins mentioned above available in ready-to-use - forms. + Installation will vary a little depending on how you get plugins. If your repository has a particular plugin package, just install it using the normal software package management tool for your system. Most Linux distributions that are good for audio work will have most of the LADSPA and LV2 plugins mentioned above available in ready-to-use forms.

    +

    - Finding them will typically require searching your - distribution's repository to find the name of the package. The tools - for doing this vary from distribution to distribution. A good place - to start searching is with the name of the package (e.g. "caps" or - "calf"). There are no fixed rules about what different Linux - distributions call their packages for a given set of plugins. + Finding them will typically require searching your distribution's repository to find the name of the package. The tools for doing this vary from distribution to distribution. A good place to start searching is with the name of the package (e.g. "caps" or "calf"). There are no fixed rules about what different Linux distributions call their packages for a given set of plugins.

    +

    - If the package isn't available, then you can build the plugins from - source (plugins are generally fairly easy to compile if you've ever - done this sort of thing before). + If the package isn't available, then you can build the plugins from source (plugins are generally fairly easy to compile if you've ever done this sort of thing before).

    +

    - LADSPA plugins are shared library files. They need to be installed - in either /usr/lib/ladspa, /usr/local/lib/ladspa or in a directory - mentioned in your LADSPA_PATH environment variable. + LADSPA plugins are shared library files. They need to be installed in either /usr/lib/ladspa, /usr/local/lib/ladspa or in a directory mentioned in your LADSPA_PATH environment variable.

    +

    - LV2 plugins are folders/directories. They need to - installed in either /usr/lib/lv2, /usr/local/lib/lv2 or a directory - mentioned in your LV2_PATH environment variable. + LV2 plugins are folders/directories. They need to installed in either /usr/lib/lv2, /usr/local/lib/lv2 or a directory mentioned in your LV2_PATH environment variable.

    +

    - Linux VST (LXVST) plugins are distributed as shared library - files. They are typically installed in /usr/lib/lxvst, - /usr/local/lib/lxvst or a directory mentioned in your LXVST_PATH - environment variable. + Linux VST (LXVST) plugins are distributed as shared library files. They are typically installed in /usr/lib/lxvst, /usr/local/lib/lxvst or a directory mentioned in your LXVST_PATH environment variable.

    OS X

    +

    - Unless you're a particularly technical computer user, building and - installing plugins in the LV2 (or LADSPA) format is probably not - something worth planning on. + Unless you're a particularly technical computer user, building and installing plugins in the LV2 (or LADSPA) format is probably not something worth planning on.

    +

    - Most of the plugins you are likely to use on OS X will be in Apple's - AudioUnit format. These have their own installation process that tends to - just work. + Most of the plugins you are likely to use on OS X will be in Apple's AudioUnit format. These have their own installation process that tends to just work.

    diff --git a/_manual/11_working-with-plugins/08_windows-vst-support.html b/_manual/11_working-with-plugins/08_windows-vst-support.html new file mode 100644 index 0000000..72a259a --- /dev/null +++ b/_manual/11_working-with-plugins/08_windows-vst-support.html @@ -0,0 +1,69 @@ +--- +layout: default +title: Using Windows VST Plugins on Linux +--- + +

    + Thanks to the combined work of Torben Hohn, Kjetil Mattheusen, Paul + Davis and a few other developers, it is possible to use Windows + VST + plugins (that is, plugins in VST format built and distributed + for the Windows platforms) on Ardour running on Linux. (Note: there + is no VST support of any kind on OS X). +

    + +

    However, doing so has three substantial downsides:

    + +
      +
    • It requires a special build of Ardour that is fundamentally + very different from normal builds
      • +
    • Support depends on Wine, + a Windows "emulator"
      • +
    • As usual with plugins, a crashing plugin will take Ardour down + with it—and crashes in Windows VST plugins are more likely when + used in this way
      • +
    + +

    + The dependence on Wine makes it almost impossible for the Ardour + project to support this feature. Wine's functionality generally + improves over time, but any given release of Wine may behave worse + with some or all Windows VST plugins. It may even just crash Ardour + completely. +

    + +

    + Step back and think about what "using Windows VSTs" really means: + taking bits of software written with only one idea in mind—running + on the Windows platform—and then trying to use them on an entirely + different platform. It is a bit of a miracle (largely thanks to the + incredible work done by the Wine project) that it works at all. But is + this the basis of a stable, reliable DAW for a non-Windows platform? + Getting Ardour on Linux to pretend that its really a Windows + application running on Windows? +

    + +

    + We understand that there are many outstanding plugins available as + Windows VSTs and that in many cases, no equivalent is available for + Ardour's Linux-based users. If your workflow is so dependent on those + plugins, then remain on Windows (or potentially consider using an + actual Windows VST host running inside of Wine). If you can make the + effort, you will get a better environment by using a normal build of + Ardour and exploring the world of plugins built to run on Linux + natively. This covers LADSPA, LV2 and Linux VST formats, and even some + outstanding proprietary plugins such as those + from Loomer. +

    + +

    A Plea To Plugin Manufacturers

    + +

    + Please consider porting your plugins so that users can enjoy them on + Linux too. Several other commercial plugin developers have already + done this. You can choose between using "Linux VST" (which is what + Loomer and others have done)—you will find toolkits like JUCE that + help to make this fairly easy—or using LV2 format which is + ultimately more flexible but probably more work. We have users—thousands of users—on Linux who would like to use your plugins. +

    + diff --git a/_manual/12_adding-pre-existing-material/01_import-dialog.html b/_manual/12_adding-pre-existing-material/01_import-dialog.html index cc4a83f..e69b9e9 100644 --- a/_manual/12_adding-pre-existing-material/01_import-dialog.html +++ b/_manual/12_adding-pre-existing-material/01_import-dialog.html @@ -10,16 +10,21 @@ title: Import Dialog a new session, or a way to deepen and improve one that is already underway.

    +

    You can import audio and MIDI data into your session with the Add Existing Media dialog.

    - + +

    Update image, possibly update content if out of date

    +

    The Soundfile Information Box

    +

    This box will display information about the currently selected file:

    +
    • number of channels,
    • sample rate,
      • @@ -29,15 +34,15 @@ title: Import Dialog Broadcast WAVE), and
    • tags (attached metadata to help categorize files in a library).
    +

    If the sample rate differs from the current session rate, it is displayed in red, which indicates that the file must be resampled before - importing.
    - Resampling is controlled by the Conversion quality - option described below. + importing. Resampling is controlled by the Conversion quality option described below.

    Auditioner

    +

    Files can be auditioned before importing. The slider under the play and stop buttons allows you to scrub around, a fader on the right side allows @@ -45,32 +50,36 @@ title: Import Dialog

    Importing options

    +

    You can import files into new, automatically created tracks, to the region list (from where you can manually drag them into a track), or as new Tape tracks with the Add new files as... option.

    +

    New files will be inserted at either the file timestamp (if available, zero by default), at the edit point, at the playhead, or at the start of the session, as specified in Insert at....

    +

    The Channel mapping is either "one track/region per file", or "one track/region per channel". The latter splits multichannel - source files into mono regions.
    - If you have selected multiple files and are importing them into a track, + source files into mono regions. If you have selected multiple files and are importing them into a track, you can also choose whether to sequence all files into a single track in the order of selection, or to create as many tracks as there are files to import.

    +

    The Conversion quality drop-down controls the quality of the resampling process, if the sampling rate of the source file differs from the session rate.

    +

    Finally, and most importantly, you can decide whether to Copy files to session, or to link them. Please read @@ -79,3 +88,4 @@ title: Import Dialog

    {% children %} + diff --git a/_manual/12_adding-pre-existing-material/02_copying-versus-linking.html b/_manual/12_adding-pre-existing-material/02_copying-versus-linking.html index 359c9b2..c4dde0c 100644 --- a/_manual/12_adding-pre-existing-material/02_copying-versus-linking.html +++ b/_manual/12_adding-pre-existing-material/02_copying-versus-linking.html @@ -10,47 +10,56 @@ title: Copying versus Linking

    Copying

    +

    An existing media file is copied to the session's audio folder, and - if necessary converted into the session's native format.
    + if necessary converted into the session's native format. +

    + +

    For audio files, you can control the choice of this format (eg. WAVE or Broadcast WAVE). Audio files will also be converted to the session sample rate if necessary (which can take several minutes for larger files).

    +

    MIDI files will already be in SMF format, and are simply copied into the session's MIDI folder.

    Linking

    +

    A link to an existing media file somewhere on the disk is used as a the source for a region, but the data is not copied or modified in any way.

    +

    While linking is handy to conserve disk space, it means that your session is no longer self-contained. If the external file moves, it will become unavailable, and any changes to it from elsewhere will affect the session. A backup of the session directory will miss linked files.

    +

    You can choose to copy or link files into your session with the Copy file to session option in the Import dialog window.

    +

    - + ← This file will be imported in the audio/MIDI folder of your session.

    +

    - + ← This file won't be copied.

    +

    - There is a global preference Edit > Preferences > Misc > - Session Management > Always copy imported files. If it is - enabled, you will not be able to link a file. + There is a global preference Edit > Preferences > Misc > Session Management > Always copy imported files. If it is enabled, you will not be able to link a file.

    - + diff --git a/_manual/12_adding-pre-existing-material/03_searching-and-importing-from-freesound.html b/_manual/12_adding-pre-existing-material/03_searching-and-importing-from-freesound.html index 360303f..03cc451 100644 --- a/_manual/12_adding-pre-existing-material/03_searching-and-importing-from-freesound.html +++ b/_manual/12_adding-pre-existing-material/03_searching-and-importing-from-freesound.html @@ -4,6 +4,7 @@ title: Searching and Importing From Freesound menu_title: Freesound Search/Import --- +

    This section is irrelevant now, as the Freesound import function has been removed due to changes done on Freesound's end

    Freesound diff --git a/_manual/12_adding-pre-existing-material/04_searching-for-files-using-tags.html b/_manual/12_adding-pre-existing-material/04_searching-for-files-using-tags.html index e7870e5..ab97393 100644 --- a/_manual/12_adding-pre-existing-material/04_searching-for-files-using-tags.html +++ b/_manual/12_adding-pre-existing-material/04_searching-for-files-using-tags.html @@ -7,8 +7,8 @@ title: Searching for Files Using Tags A tag is bit of information, or metadata, that is associated with a data file. Specifically, tags are keywords or terms that you feel have some relevance to a particular soundfile. Ardour can store these tags - in a searchable database so that you can quickly search for sounds based - on the tags that you have assigned to them. + in a searchable database so that you can quickly search for sounds + based on the tags that you have assigned to them.

    For example you can assign the term 120bpm to a @@ -18,11 +18,10 @@ title: Searching for Files Using Tags stored in a file called sfdb in your Ardour user folder.

    - To add tags to a given file, open the Session > Import - dialog, select the file in the browser, and type new tags into tag area in - the soundfile information box on the right.
    - Tags are stored when the input box loses focus, there is no need to - explicitly save them. + To add tags to a given file, open the Session > + Import dialog, select the file in the browser, and type new tags into tag + area in the soundfile information box on the right. Tags are stored when the + input box loses focus, there is no need to explicitly save them.

    You can search for specific tags in the - -{% children %} diff --git a/_manual/13_recording.html b/_manual/13_recording.html index 61e7666..3d6e3dc 100644 --- a/_manual/13_recording.html +++ b/_manual/13_recording.html @@ -3,4 +3,6 @@ layout: default title: Recording --- +

    Add content (possibly: punch in/out, record modes, etc)

    + {% children %} diff --git a/_manual/13_recording/01_monitoring/01_latency-considerations.html b/_manual/13_recording/01_monitoring/01_latency-considerations.html index 061b2d4..f6f0c48 100644 --- a/_manual/13_recording/01_monitoring/01_latency-considerations.html +++ b/_manual/13_recording/01_monitoring/01_latency-considerations.html @@ -32,10 +32,11 @@ menu_title: Latency through an external mixing console while recording, an approach taken by most if not all professional recording studios. Many computer I/O devices have a hardware mixer built in which can route the monitor signal "around" - the computer, avoiding the systemlatency.
    + the computer, avoiding the system latency. +

    +

    In either case, the monitoring hardware may be digital or analog. And in the digital case you will still have the A-D-A conversion latency of 1–2 ms.

    -{% children %} \ No newline at end of file diff --git a/_manual/13_recording/01_monitoring/02_monitor-signal-flow.html b/_manual/13_recording/01_monitoring/02_monitor-signal-flow.html index bddda13..f92e845 100644 --- a/_manual/13_recording/01_monitoring/02_monitor-signal-flow.html +++ b/_manual/13_recording/01_monitoring/02_monitor-signal-flow.html @@ -4,38 +4,33 @@ title: Monitor Signal Flow menu_title: Signal Flow --- -

    There are three basic ways to approach monitoring:

    - -

    External Monitoring

    - -

    When using external monitoring, 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 a "listen to the input" feature. This approach yields zero or near-zero - latency. On the other hand it requires external hardware, and the monitoring - settings are less flexible and not saved with the session.

    - -

    JACK-Based Hardware Monitoring

    - -

    Some sound cards have the ability - to mix signals from their inputs to their outputs with very low or even zero - latency, a feature called hardware monitoring. - Furthermore, on some cards this function can be controlled by JACK. 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. -

    - -

    Software Monitoring

    - -

    With the software monitoring approach, all monitoring is - performed by Ardour — it makes track inputs available at track - outputs, governed by various controls. This approach will almost always have - more routing flexibility than JACK-based monitoring. The disadvantage is - that there will be some latency between the input and the output, which - depends for the most part on the JACK buffer size that is being used. -

    - -{% children %} \ No newline at end of file +

    + There are three basic ways to approach monitoring: +

    + +

    External Monitoring

    + +

    + +

    + When using external monitoring, 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 a "listen to the input" feature. This approach yields zero or near-zero latency. On the other hand it requires external hardware, and the monitoring settings are less flexible and not saved with the session. +

    + +

    JACK-Based Hardware Monitoring

    + +

    + +

    + Some sound cards have the ability to mix signals from their inputs to their outputs with very low or even zero latency, a feature called hardware monitoring. Furthermore, on some cards this function can be controlled by JACK. 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. +

    + +

    Broken link

    + +

    Software Monitoring

    + +

    + +

    + With the software monitoring approach, all monitoring is performed by Ardour—it makes track inputs available at track outputs, governed by various controls. This approach will almost always have more routing flexibility than JACK-based monitoring. The disadvantage is that there will be some latency between the input and the output, which depends for the most part on the JACK buffer size that is being used. +

    + diff --git a/_manual/13_recording/01_monitoring/03_monitor-setup-in-ardour.html b/_manual/13_recording/01_monitoring/03_monitor-setup-in-ardour.html index d112e9e..b1d6046 100644 --- a/_manual/13_recording/01_monitoring/03_monitor-setup-in-ardour.html +++ b/_manual/13_recording/01_monitoring/03_monitor-setup-in-ardour.html @@ -18,14 +18,14 @@ menu_title: Setup in Ardour

    Monitoring also depends on the state of the track's record-enable button, -the session record-enable button, and on whether or not the transport is -rolling. + the session record-enable button, and on whether or not the transport is + rolling.

    -

    Software or Hardware Monitoring Modes

    +

    Software or Hardware Monitoring Modes

    -If Ardour is set to external monitoring, the explanation of -Ardour's monitoring behaviour is simple: it does not do any. + If Ardour is set to external monitoring, the explanation of + Ardour's monitoring behaviour is simple: it does not do any.

    Monitoring in Non-Tape-Machine Mode

    @@ -52,5 +52,4 @@ Ardour's monitoring behaviour is simple: it does not do any. Unarmed tracks however will always just play back their contents from disk; the live input will never be monitored.

    - -{% children %} + diff --git a/_manual/13_recording/02_track-recording-modes.html b/_manual/13_recording/02_track-recording-modes.html index 774e517..66b6ae0 100644 --- a/_manual/13_recording/02_track-recording-modes.html +++ b/_manual/13_recording/02_track-recording-modes.html @@ -13,4 +13,3 @@ title: Track Recording Modes for a detailed explanation.

    -{% children %} \ No newline at end of file diff --git a/_manual/14_signal-routing.html b/_manual/14_signal-routing.html index 87d7170..c54cc1d 100644 --- a/_manual/14_signal-routing.html +++ b/_manual/14_signal-routing.html @@ -6,16 +6,19 @@ title: Signal Routing

    Ardour does most of its internal signal routing via JACK: all track and bus inputs and outputs are JACK ports, as are sends and - inserts, which means they can be tapped into by other JACK clients. + inserts—which means they can be tapped into by other JACK clients. Only the signal flow inside a track or bus (i.e. from processor to processor) is - handled internally.
    - By default, Ardour will create the following connections for you: + handled internally.

    + +

    + By default, Ardour will create the following connections: +

    +
    • - Track inputs are optionally auto-connected to hardware inputs, in round robin - order, depending on the setting you chose in the + Track inputs are optionally auto-connected to hardware inputs, in round robin order, depending on the setting you chose in the Session > New Session dialog.
      • @@ -33,16 +36,14 @@ title: Signal Routing Master bus outputs are connected to hardware outputs.
    +

    - This configuration is sufficient to do basic tracking and playback of many - sessions without any adjustment by the user. If you are using Ardour and - start to change these connections, be certain that you have a good reason - to do so — it is generally not necessary and often leads to problems. + This configuration is normally sufficient to do basic tracking and playback of sessions without any adjustments. When changing these connections, be certain that there is good reason for doing so—it is generally not necessary and can often lead to problems.

    +

    - However, for many workflows during mixing, more complicated signal routing - is required. Ardour offers many possibilties for connecting things in the - way you may need or want them. + However, for many workflows during mixing, more complicated signal routing is required. Fortunately, Ardour is very flexible in the ways it offers to connect things to each other.

    {% children %} + diff --git a/_manual/14_signal-routing/01_aux-sends.html b/_manual/14_signal-routing/01_aux-sends.html index 61dc899..71c6393 100644 --- a/_manual/14_signal-routing/01_aux-sends.html +++ b/_manual/14_signal-routing/01_aux-sends.html @@ -11,18 +11,21 @@ title: Aux Sends and send a copy of that signal somewhere else, without affecting the normal signal flow downwards to the channel fader.

    +

    Usually, aux sends from several tracks are collectively sent to a dedicated Aux bus in Ardour, to create a monitor mix for a musician, or to feed an effect unit. The output of such a bus might be routed to separate hardware outputs (in the case of headphone or monitor - wedge mixes), or returned to the main mix (in the case of an effect).
    + wedge mixes), or returned to the main mix (in the case of an effect). +

    + +

    Since sends are JACK ports, it is also possible to send the tapped signal somewhere else directly, which is not usually possible on hardware mixers - (see External Sends). + (see External Sends).

    - +

    It may be useful to compare and contrast @@ -30,6 +33,7 @@ title: Aux Sends

    Adding a new aux bus

    +

    Choose Session > Add New Track or Bus. In the New Track & Bus dialog, select "Busses" in the Track/Bus @@ -37,6 +41,7 @@ title: Aux Sends

    Adding a send to an aux bus

    +

    Context-click on the processor box for the track you want to send to the bus, and choose New Aux Send. From the submenu, choose the bus you @@ -45,17 +50,19 @@ title: Aux Sends

    Pre-fader and Post-fader Aux Sends

    +

    Depending on whether you context-click above or below the fader in the processor box, the new aux send can be placed before or after the fader in the channel strip. Post-fader aux sends are typically used when using an aux for shared signal processing (FX), so that the amount of effect is always proportional to the main mix fader. Pre-fader sends ensure that the level sent to the bus - is controlled only by the send, not the main fader — this is typical + is controlled only by the send, not the main fader—this is typical when constructing headphone and monitor wedge mixes.

    Adding a new aux bus and sending a Track Group to it

    +

    You can add aux sends to all members of a group and connect them to a new aux bus with a single click. After creating the track group (and adding tracks to it), @@ -66,25 +73,33 @@ title: Aux Sends this aux bus.

    +

    Add images, fix factual inaccuracies

    Altering Send Levels

    +

    You can alter the amount of the signal received by a send that it delivers to the bus it connects to. There are three approaches to this:

    +

    Use the Send Fader

    +

    Every send processor has a small horizontal fader that can be adjusted in the usual way. It is not very big and so this can be a little unsatisfactory if you want very fine control over the send level.

    +

    Mapping the Main Fader

    +

    Double-clicking on the send in the processor box will allow you to use the big fader of the mixer strip to control the send. The visual appearance of the mixer strip will change to reflect this. Double-click the send again to revert back to normal function for the strip.

    +

    Map Aux Sends To Main Faders

    +

    Pressing the button marked Aux Sends on a aux bus will alter the channel strip for every track or bus that feeds the aux bus. Many @@ -95,17 +110,21 @@ title: Aux Sends Aux Sends button of the aux bus again to revert the channel strips to their normal use.

    +

    Disabling Sends

    +

    Clicking on the small "LED" in the send display in the processor box of the channel strip will enable/disable the send. When disabled, only silence will be delivered to the aux bus by this track. When enabled, the signal arriving at the send will be delivered to the aux bus.

    +

    Send Panning

    +

    Send panners can be configured to either be independent of the main panner, or to follow it. The latter could be useful for Reverb effects, or for in-ear monitor mixes delivered in stereo.

    - + diff --git a/_manual/14_signal-routing/02_comparing-aux-sends-and-subgroups.html b/_manual/14_signal-routing/02_comparing-aux-sends-and-subgroups.html index 53dd9a5..21645ed 100644 --- a/_manual/14_signal-routing/02_comparing-aux-sends-and-subgroups.html +++ b/_manual/14_signal-routing/02_comparing-aux-sends-and-subgroups.html @@ -5,20 +5,22 @@ menu_title: Auxes vs. Groups ---

    - Auxes and Subgroups share a common concept — they both provide a way + Auxes and Subgroups share a common concept—they both provide a way for one or more tracks (or busses) to send their signal to a single bus so that common signal processing can be applied to the mix of their signals.

    +

    Aux sends leave the existing signal routing to the main mix in place, and are typically used to create a separate mix to send to (for example) monitors or headphones (for performer monitor mixes):

    -aux signal routing + +aux signal routing +

    - Subgroups usually remove the original signal routing to the main mix and - replace it with a new one that delivers the output of the subgroup bus to - the main mix instead. + Subgroups usually remove the original signal routing to the main mix and replace it with a new one that delivers the output of the subgroup bus to the main mix instead.

    -sub group signal routing + +sub group signal routing diff --git a/_manual/14_signal-routing/03_external-sends.html b/_manual/14_signal-routing/03_external-sends.html index 4cadbb0..ea82c9a 100644 --- a/_manual/14_signal-routing/03_external-sends.html +++ b/_manual/14_signal-routing/03_external-sends.html @@ -7,8 +7,7 @@ title: External Sends Like a normal aux send, an external send taps the signal at a specific within a channel strip, but delivers it to an external application or piece of hardware rather than an Ardour bus. By itself, an external - send has no effect whatsoever on the audio signals within Ardour — - it is a one-way signal routing that leaves all existing signal processing + send has no effect whatsoever on the audio signals within Ardour—it is a one-way signal routing that leaves all existing signal processing just as it was.

    @@ -27,6 +26,7 @@ title: External Sends patchbay to allow you to connect the send to the desired destination.

    +

    Broken links

    Removing an External Send

    You can remove an external send in several ways:

    @@ -52,6 +52,7 @@ title: External Sends it on and off. When turned off, silence will be delivered to the send. When turned on, the signal within the channel strip will be delivered.

    +

    Editing Send Routing

    Double-clicking or Edit-clicking on the send in the processor box will diff --git a/_manual/14_signal-routing/04_inserts.html b/_manual/14_signal-routing/04_inserts.html index b599da3..d5ef8e6 100644 --- a/_manual/14_signal-routing/04_inserts.html +++ b/_manual/14_signal-routing/04_inserts.html @@ -9,7 +9,9 @@ title: Inserts feeding the signal from before the insert point to its Insert send(s), and connecting the remainder of the channel strip to the Insert return(s), both of which are JACK ports which are - visible to other JACK applications.
    + visible to other JACK applications. +

    +

    Inserts are the JACK equivalents of normalized switching jacks on an analog console.

    diff --git a/_manual/14_signal-routing/06_subgrouping.html b/_manual/14_signal-routing/06_subgrouping.html index 765f8fa..fbd370f 100644 --- a/_manual/14_signal-routing/06_subgrouping.html +++ b/_manual/14_signal-routing/06_subgrouping.html @@ -33,6 +33,6 @@ title: Subgrouping To remove a subgroup (bus), context-click on the track group tab, and select Remove subgroup bus. You can also simply delete the bus itself. Note that this operation will not restore signal - routing to the way it was before the addition of the subgroup bus — tracks + routing to the way it was before the addition of the subgroup bus—tracks that had been subgrouped will be left with their main outputs disconncted.

    diff --git a/_manual/14_signal-routing/07_Patchbay.html b/_manual/14_signal-routing/07_Patchbay.html index f35e435..7dd0b84 100644 --- a/_manual/14_signal-routing/07_Patchbay.html +++ b/_manual/14_signal-routing/07_Patchbay.html @@ -7,131 +7,90 @@ title: Patchbay The patchbay is the main way to make connections to, from and within Ardour's mixer.

    +

    Notable exceptions are internal 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.

    -an example patchbay + +an example patchbay +

    - 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. + 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.

    +

    - Both sources and destinations are divided up into groups, with each - group being given a tab: + Both sources and destinations are divided up into groups, with each group being given a tab:

    +
    Hardware
    - These are ports which are connected to a physical piece of hardware - (a sound card or MIDI interface).
    + These are ports which are connected to a physical piece of hardware (a sound card or MIDI interface).
    Ardour Busses
    All ports belonging to busses.
    Ardour Tracks
    All ports belonging to tracks.
    Ardour Misc
    - These are other ports that do not fit into the previous two - categories; for example, the ports on which the metronome click - is output, and MIDI ports for things like control surfaces and - timecode. + These are other ports that do not fit into the previous two categories; for example, the ports on which the metronome click is output, and MIDI ports for things like control surfaces and timecode.
    Other
    - If you have other JACK clients running, their ports will be found - here. If there are no such ports, the tab will not exist (on one or - both axes of the grid).
    + If you have other JACK clients running, their ports will be found here. If there are no such ports, the tab will not exist (on one or both axes of the grid).
    +

    - The main part of the patchbay is a matrix grid. Within this - grid, green dots represent connections, and you can click in any of the - squares to make or break connections. You can also click and drag to - draw a line of connections, which is sometimes useful for making many - connections at once. + The main part of the patchbay is a matrix grid. Within this grid, green dots represent connections, and you can click in any of the squares to make or break connections. You can also click and drag to draw a line of connections, which is sometimes useful for making many connections at once.

    +

    - In the example patchbay shown above we can note various things. We are - using the Ardour Tracks sources tab, so we see - the output ports of the three tracks in our session: Fred, Jim and Foo. - Our destinations are from the Ardour Busses tab, - so we have the inputs of a session bus, Sheila, and the inputs of the - master bus. Fred and Jim have stereo outputs, so have L and R connections. - Foo is a MIDI track, so it only has one connection, and its squares in - the grid are coloured light grey to indicate that no connection can be - made between Foo (a MIDI output) and our busses (which are all audio-input). + In the example patchbay shown above we can note various things. We are using the Ardour Tracks sources tab, so we see the output ports of the three tracks in our session: Fred, Jim and Foo. Our destinations are from the Ardour Busses tab, so we have the inputs of a session bus, Sheila, and the inputs of the master bus. Fred and Jim have stereo outputs, so have L and R connections. Foo is a MIDI track, so it only has one connection, and its squares in the grid are coloured light grey to indicate that no connection can be made between Foo (a MIDI output) and our busses (which are all audio-input).

    +

    - The green dots in the example show that both Foo and Bar are connected - to the master bus, left to left and right to right. + The green dots in the example show that both Foo and Bar are connected to the master bus, left to left and right to right.

    Variants on the Patchbay

    +

    - Slightly different versions of the patchbay are available from different - places in Ardour. For a global view of all JACK audio connections, use - Window > Audio Patchbay, or press - P. A corresponding MIDI Connection Manager can - be opened using P.

    + Slightly different versions of the patchbay are available from different places in Ardour. For a global view of all JACK audio connections, use Window > Audio Patchbay, or press P. A corresponding MIDI Connection Manager can be opened using P. +

    +

    - There is also a patchbay available when connecting individual tracks; - clicking on the input or output buttons of a mixer strip will open a - connection manager which has the corresponding track input or output as - the only destination or source, with all other ports available for - connection to it. + There is also a patchbay available when connecting individual tracks; clicking on the input or output buttons of a mixer strip will open a connection manager which has the corresponding track input or output as the only destination or source, with all other ports available for connection to it.

    Other patchbay features

    +

    - Context-clicking on a port name in the connection manager opens a menu - which provides a few handy options: + Context-clicking on a port name in the connection manager opens a menu which provides a few handy options:

    +
    Add audio port and Add MIDI port
    - These options add audio or MIDI ports to the thing that you opened - the menu over, if this is possible. In this way, for example, tracks - and busses can be extended to have more inputs or outputs. + These options add audio or MIDI ports to the thing that you opened the menu over, if this is possible. In this way, for example, tracks and busses can be extended to have more inputs or outputs.
    Remove
    - Removes the given port, if possible. Right-clicking - a port will do the same. + Removes the given port, if possible. Right-clicking a port will do the same.
    Disconnect all from…
    Disconnects everything from the given port.
    Rescan
    - Ardour will try to keep abreast of any changes to the JACK ports on - your system, and reflect them in any connection managers which are open. - If for some reason this fails, use this to re-scan the list of ports and - update the manager. + Ardour will try to keep abreast of any changes to the JACK ports on your system, and reflect them in any connection managers which are open. If for some reason this fails, use this to re-scan the list of ports and update the manager.
    Show individual ports
    - If you have a session which has lots of multi-channel tracks or busses, - it may be an unnecessary detail that you have to connect left to left and - right to right every time you make a connection. This obviously gets worse - with higher channel counts (such as for 5.1 or Ambisonics). To make life - easier with such sessions, you can untick Show individual ports. After that, - the channels of tracks and busses will be hidden, and any green dots you add - in the connection manager will automatically connect each channel of the source - to the corresponding channel of the destination (left to left, right to right - and so on). In this mode, a half-circle in the connection grid indicates that - some (but not all) of the source's ports are connected to the destination. + If you have a session which has lots of multi-channel tracks or busses, it may be an unnecessary detail that you have to connect left to left and right to right every time you make a connection. This obviously gets worse with higher channel counts (such as for 5.1 or Ambisonics). To make life easier with such sessions, you can untick Show individual ports. After that, the channels of tracks and busses will be hidden, and any green dots you add in the connection manager will automatically connect each channel of the source to the corresponding channel of the destination (left to left, right to right and so on). In this mode, a half-circle in the connection grid indicates that some (but not all) of the source's ports are connected to the destination.
    Flip
    - This will flip the visible ports on the vertical axis with those on the - horizontal. If, for example, the top of the connection manager is showing - Ardour Busses and the right is showing - Hardware, flip will swap the view to the - opposite. You can also flip by pressing f. Note that if there are - no matching tabs on both axes, flipping will be impossible. + This will flip the visible ports on the vertical axis with those on the horizontal. If, for example, the top of the connection manager is showing Ardour Busses and the right is showing Hardware, flip will swap the view to the opposite. You can also flip by pressing f. Note that if there are no matching tabs on both axes, flipping will be impossible.
    + diff --git a/_manual/14_signal-routing/08_signal-flow.html b/_manual/14_signal-routing/08_signal-flow.html index ecd03e2..3b247ba 100644 --- a/_manual/14_signal-routing/08_signal-flow.html +++ b/_manual/14_signal-routing/08_signal-flow.html @@ -10,24 +10,27 @@ In each individual Track or Bus the signal flow is top to bottom. Consider the f

    track signal routing

    -Trim, Fader and Panner are provided by Ardour. The Processor-Box can hold 3rd Party Plugins or host-provided redirects (insert, aux-send,..). + Trim, Fader and Panner are provided by Ardour. The Processor-Box can hold 3rd Party Plugins or host-provided redirects (insert, aux-send,..).

    +

    Where is the processor box in that image?

    -An important aspect is that the signal flow is multi-channel and not fixed throughout the track. For example, a Track can have a mono input, a mono to stereo plugin (e.g. reverb) flowing into a surround panner with 6 outputs. The design of Ardour is that width of the signal flow is defined by the passage through plugins in the processor box, followed by panning. -The number of inputs to the panner is defined by the number outputs of the last plugin in the chain. The number of panner outputs is equal to the track's outputs ports, which can be added and remove dynamically. This schema called Flexible I/O. It's very powerful and a distinct feature of Ardour. + An important aspect is that the signal flow is multi-channel and not fixed throughout the track. For example, a Track can have a mono input, a mono to stereo plugin (e.g. reverb) flowing into a surround panner with 6 outputs. The design of Ardour is that width of the signal flow is defined by the passage through plugins in the processor box, followed by panning. + The number of inputs to the panner is defined by the number outputs of the last plugin in the chain. The number of panner outputs is equal to the track's outputs ports, which can be added and remove dynamically. This schema called Flexible I/O. It's very powerful and a distinct feature of Ardour.

    -The golden rule of processor signal flow:
    The number of outputs of one link of the process chain defines the number inputs of the next, until the panner. + The golden rule of processor signal flow:
    The number of outputs of one link of the process chain defines the number inputs of the next, until the panner.

    -Due to this rule there is one very common case that is hard to achieve: Keep a mono track mono. With Flexible I/O, if a stereo plugin is added on a mono track, the signal flow after that plugin becomes stereo. + Due to this rule there is one very common case that is hard to achieve: Keep a mono track mono. With Flexible I/O, if a stereo plugin is added on a mono track, the signal flow after that plugin becomes stereo.

    Strict I/O

    -

    Strict I/O enforces a simple rule: Plugins have the same number of inputs as they have outputs. By induction the track will have as many output-ports as there are input ports.

    +

    + Strict I/O enforces a simple rule: Plugins have the same number of inputs as they have outputs. By induction the track will have as many output-ports as there are input ports. +

    1. Adding a Plugin will not modify the signal-flow. The number of plugin outputs is forced to the number of inputs present at the point of insertion. If a plugin-pin is missing, it is ignored. If Plugin-pin is unconnected, it is fed with silence. Unconnected plugin outputs are ignored).
      2. @@ -36,26 +39,29 @@ Due to this rule there is one very common case that is hard to achieve: Keep a m

    -Strict I/O is set when creating the track and can later be en/disabled dynamically in the context menu of every mixer strip. + Strict I/O is set when creating the track and can later be en/disabled dynamically in the context menu of every mixer strip.

    strict i/o routing

    -

    There are two exceptions to the above rule 1.

    +

    + There are two exceptions to the above rule 1. +

    • Midi Synths. When adding a synth at a point where there is a Midi port only, the synthesizer plugin will add audio-output ports, - which trickle down the processor chain to all follow up plugins as inputs and in turn force their outputs to match.
      • -
    • Side chain inputs are not affected by strict i/o
      • + which trickle down the processor chain to all follow up plugins as inputs and in turn force their outputs to match. +
    • Side chain inputs are not affected by strict I/O

    Customizing the Signal Flow

    -The signal flow though the mixer can be customized at every processor node via "Pin Configuration" in the context menu of every processor. -User customization override all automatic (flexible/strict i/o mode) inferred output port settings for the given processor. -Non-customized plugins downstream will follow suit depending on the selected route mode. e.g. adding an additional output to a plugin on a track set to strict-i/o will trickle down the process chain until the output and result in the addition of an output port. This is useful for example in case of a mono to stereo reverb. + The signal flow though the mixer can be customized at every processor node via "Pin Configuration" in the context menu of every processor. + User customization override all automatic (flexible/strict I/O mode) inferred output port settings for the given processor. + Non-customized plugins downstream will follow suit depending on the selected route mode, e.g. adding an additional output to a plugin on a track set to strict I/O will trickle down the process chain until the output and result in the addition of an output port. This is useful for example in case of a mono to stereo reverb.

    -One can also bypass plugin instances with a 'trhu' connection. This connection is latency compensated. One example is separate Left/Right channel Equalization using two mono plugins on a stereo track: + One can also bypass plugin instances with a 'thru' connection. This connection is latency compensated. One example is separate Left/Right channel Equalization using two mono plugins on a stereo track:

    separate left/right Eq

    + diff --git a/_manual/15_editing-and-arranging.html b/_manual/15_editing-and-arranging.html index 75259d2..3b13964 100644 --- a/_manual/15_editing-and-arranging.html +++ b/_manual/15_editing-and-arranging.html @@ -3,4 +3,5 @@ layout: default title: Editing and Arranging --- +

    Add content FFS; also see lots relating to editing but NONE related to arranging

    {% children %} diff --git a/_manual/15_editing-and-arranging/01_edit-point.html b/_manual/15_editing-and-arranging/01_edit-point.html index a56a831..84d8cae 100644 --- a/_manual/15_editing-and-arranging/01_edit-point.html +++ b/_manual/15_editing-and-arranging/01_edit-point.html @@ -31,3 +31,4 @@ title: Edit Point also switch the edit point using a combo-selector just right of the snap/grid unit selector.

    +

    Add images

    diff --git a/_manual/15_editing-and-arranging/02_select-regions.html b/_manual/15_editing-and-arranging/02_select-regions.html index e04c1e7..dc4c77b 100644 --- a/_manual/15_editing-and-arranging/02_select-regions.html +++ b/_manual/15_editing-and-arranging/02_select-regions.html @@ -3,6 +3,7 @@ layout: default title: Select Regions --- +

    Remove all "you" references FFS

    Many editing operations in Ardour require you to first select one or more regions that you want to change in some way. You can select a single region, @@ -25,6 +26,7 @@ title: Select Regions Region & Track Selection for more information on how selecting regions and selecting tracks interact.

    +

    Broken link

    Select a Region

    @@ -75,6 +77,7 @@ title: Select Regions See the Track Context Menu for more information on other per-track selection operations that are available.

    +

    Broken link

    Select Multiple Regions Across Different Tracks

    diff --git a/_manual/15_editing-and-arranging/03_which-regions-are-affected.html b/_manual/15_editing-and-arranging/03_which-regions-are-affected.html index 23b5df6..7aa30ae 100644 --- a/_manual/15_editing-and-arranging/03_which-regions-are-affected.html +++ b/_manual/15_editing-and-arranging/03_which-regions-are-affected.html @@ -6,13 +6,13 @@ menu_title: Affected Regions

    This section explains the rules used to decide which regions are affected - by editing operations. You don't really have to understand them — hopefully - things will Just Work — but it may be useful eventually to understand the rules. + by editing operations. You don't really have to understand them—hopefully + things will Just Work™—but it may be useful eventually to understand the rules.

    Editing operations in Ardour either operate on a single point in time (Split being the obvious example) or on two - points (which can also be considered to be a range of sorts), Separate is a good example of this.

    @@ -22,7 +22,7 @@ menu_title: Affected Regions use based on the following rules:

      -
    • If the edit point is `mouse', then +
    • If the edit point is 'mouse', then
      • if the mouse is over a selected region, or no region, use all selected regions, or
        • @@ -43,6 +43,6 @@ menu_title: Affected Regions

        The rationale here for the two different rules is that the mouse edit point is special in that its position indicates both a time and a track; the other - edit points (Playhead,Marker) indicate a time only. + edit points (Playhead, Marker) indicate a time only.

        - + diff --git a/_manual/15_editing-and-arranging/04_snap-to-the-grid.html b/_manual/15_editing-and-arranging/04_snap-to-the-grid.html index 846a4a2..7161776 100644 --- a/_manual/15_editing-and-arranging/04_snap-to-the-grid.html +++ b/_manual/15_editing-and-arranging/04_snap-to-the-grid.html @@ -4,6 +4,8 @@ title: Snap to the Grid menu_title: Snap to Grid --- +

        Get rid of all the <br>s, they look like shit

        +

        Ardour's editor utilizes a grid to assist in the placement of regions on the timeline, or with editing functions that need to happen @@ -11,6 +13,7 @@ menu_title: Snap to Grid various objects to snap to this grid, and how you want the snapping to behave. You can modify the grid units to fit your needs.

        +

        About Snapping

        There are two ways to think about aligning material to a grid. The first and most obvious one is where an object\'s position is clamped @@ -37,7 +40,10 @@ menu_title: Snap to Grid

        .

        Snap Modes

        -

        Using the above modifications, Ardour supports three different modes of snapping to the grid:

        +

        + Using the above modifications, Ardour supports three different modes of snapping to the grid: +

        +
        No Grid
        disables the grid. All objects move freely in this mode.
        @@ -49,7 +55,7 @@ menu_title: Snap to Grid to change the grid). If you try to move an object in "Grid"-mode, it does not change its position until you move the mouse far enough for the object to reach the next grid line.
        - Sometimes you may wish to maintain an objects\' position relative to the grid line. + Sometimes you may wish to maintain an objects' position relative to the grid line. In order to do this, use the "snap relative" modifier. When holding down this modifier during a drag, the dragged object will jump while maintaining its original distance from the line.
        @@ -108,10 +114,12 @@ menu_title: Snap to Grid To use Region starts/ends/syncs/bounds as snap choices, you must have either

        +
        • No tracks selected, which means that Ardour snaps to regions on any track, or
        • Several tracks selected, which means that Ardour only snaps to regions on those selected tracks.
        +

        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. @@ -120,3 +128,4 @@ either Tracks will make the "Region" grid unit unusable. Avoid the use of this option if you are going to use any of the Region grid units.

        + diff --git a/_manual/15_editing-and-arranging/05_common-region-edit-operations.html b/_manual/15_editing-and-arranging/05_common-region-edit-operations.html index f77b690..3beb327 100644 --- a/_manual/15_editing-and-arranging/05_common-region-edit-operations.html +++ b/_manual/15_editing-and-arranging/05_common-region-edit-operations.html @@ -19,7 +19,7 @@ menu_title: Region Editing

        You may want to review your understanding of - the edit point/range and + the edit point/range and which regions will be affected by region operations.

        diff --git a/_manual/15_editing-and-arranging/06_change-region-lengths.html b/_manual/15_editing-and-arranging/06_change-region-lengths.html index a4bd602..877b53b 100644 --- a/_manual/15_editing-and-arranging/06_change-region-lengths.html +++ b/_manual/15_editing-and-arranging/06_change-region-lengths.html @@ -3,6 +3,7 @@ layout: default title: Trimming Regions --- +

        Add images, description of mouse cursor changes that signal this type of editing

        Changing the length of a region is a very common editing operation, often known as trimming. There are several ways @@ -31,7 +32,7 @@ title: Trimming Regions

        Keyboard Shortcuts for Trimming

        There are several commands for region trimming. Some use the - edit point to determine where + edit point to determine where to trim to. Some are not bound to any keys by default (but could be via the Keybindings Editor).

        diff --git a/_manual/15_editing-and-arranging/06_change-region-lengths/01_pushpull-trimming.html b/_manual/15_editing-and-arranging/06_change-region-lengths/01_pushpull-trimming.html index 1f4263c..4f63581 100644 --- a/_manual/15_editing-and-arranging/06_change-region-lengths/01_pushpull-trimming.html +++ b/_manual/15_editing-and-arranging/06_change-region-lengths/01_pushpull-trimming.html @@ -8,8 +8,8 @@ title: Push/Pull Trimming only the selected regions. Their lengths are directly affected by the trim operation, but nothing else is. Sometimes though, you might like to trim a region that directly adjoins another, and keep this relationship - the same — you are not trying to make one of the regions extend - over the other — you would like the junction to move in one + the same—you are not trying to make one of the regions extend + over the other—you would 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. Push/Pull trim, activated by pressing shift key before @@ -17,24 +17,31 @@ title: Push/Pull Trimming difference in the results of a normal trim and push/pull trim. First, the initial situation:

        -region arrangement before trim + +

        region arrangement before trim

        +

        Here is what happens after we trim the right hand (selected) region by dragging its starting position earlier:

        -region arrangement after a trim + +

        region arrangement after a trim

        +

        You can see that it now overlaps the earlier region and a crossfade has been created between them.

        +

        Lets look now at what happens if we do the same trim, but Left-dragging to turn it into a push-pull trim instead:

        -region arrangement after a push trim + +

        region arrangement after a push trim

        +

        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.

        - + diff --git a/_manual/15_editing-and-arranging/08_move-regions.html b/_manual/15_editing-and-arranging/08_move-regions.html index bafdadd..760f899 100644 --- a/_manual/15_editing-and-arranging/08_move-regions.html +++ b/_manual/15_editing-and-arranging/08_move-regions.html @@ -3,6 +3,7 @@ layout: default title: Move Regions --- +

        Add images

        Ardour has a global edit mode selector at the left of the Editing toolbar, which affect how regions are moved or copied:

        @@ -32,6 +33,5 @@ title: Move Regions for details.

        - - {% children %} + diff --git a/_manual/15_editing-and-arranging/09_create-region-fades-and-crossfades.html b/_manual/15_editing-and-arranging/09_create-region-fades-and-crossfades.html index 59e7010..77df958 100644 --- a/_manual/15_editing-and-arranging/09_create-region-fades-and-crossfades.html +++ b/_manual/15_editing-and-arranging/09_create-region-fades-and-crossfades.html @@ -2,122 +2,121 @@ layout: default title: Create Region Fades and Crossfades --- -

        Every Region has a fade-in and fade-out. By default, the region fade -is very short, and serves to de-click the transitions at the start and -end of the region. By adjusting the regions fade length, a more -gradual transition can be accomplished.

        + +

        Add images--an image is worth more than 1,000 words

        +

        + Every Region has a fade-in and fade-out. By default, the region fade + is very short, and serves to de-click the transitions at the start and + end of the region. By adjusting the regions fade length, a more + gradual transition can be accomplished. +

        Region Fades

        -

        Region fades are possible at the beginning and end of -all audio regions. In object mode, a grip appears at the top left and -top right of an audio region when the cursor hovers over it. Placing -the cursor over the top of the grip displays the region fade cursor -tip. Click and drag the grip left or right in the timeline to -adjust the length of the fade.
        +

        + Region fades are possible at the beginning and end of + all audio regions. In object mode, a grip appears at the top left and + top right of an audio region when the cursor hovers over it. Placing + the cursor over the top of the grip displays the region fade cursor + tip. Click and drag the grip left or right in the timeline to + adjust the length of the fade.

        +

        Crossfades

        -

        Crossfades refer to the behavior when you want to make -a smooth transition (mix) from one audio region to another on the same -track. Historically, this was done by splicing 2 pieces of analog -tape together, and this concept was carried forward into digital -editing. Each track is a sequence of sound files (regions). If -two regions are butted against each other, there needs to be a method -to splice them smoothly together. The crossfade allows one region -to fade smoothly out, while the next region fades smoothly in, like 2 -pieces of tape that have been cut at and angle, and overlapped.
        +

        + Crossfades refer to the behavior when you want to make + a smooth transition (mix) from one audio region to another on the same + track. Historically, this was done by splicing 2 pieces of analog + tape together, and this concept was carried forward into digital + editing. Each track is a sequence of sound files (regions). If + two regions are butted against each other, there needs to be a method + to splice them smoothly together. The crossfade allows one region + to fade smoothly out, while the next region fades smoothly in, like 2 + pieces of tape that have been cut at and angle, and overlapped. +

        + +

        + But Ardour uses a more refined "layered" editing model, and + therefore it is possible for multiple regions to be stacked on a single + location with arbitrary overlaps between different layers. For + this reason, crossfades must be implemented differently. We can't + assume that a crossfade is an entitry that exists between 2 regions; + instead each region must have its own associated crossfades at each + end, and the topmost region must always crossfade down to the + underlying region(s), if any. +

        + +

        + Ardour solves this problem by putting a crossfade at the beginning + and end of every region. The fades of the bottom-most region are + first rendered, and then each region is rendered on top of the one + below it, with fades at the end of each region providing a crossfade to + the region(s) beneath it.

        -

        But Ardour uses a more refined "layered" editing model, and -therefore it is possible for multiple regions to be stacked on a single -location with arbitrary overlaps between different layers. For -this reason, crossfades must be implemented differently. We can't -assume that a crossfade is an entitry that exists between 2 regions; -instead each region must have its own associated crossfades at each -end, and the topmost region must always crossfade down to the -underlying region(s), if any.
        + +

        + It is important to understand that region fades are crossfades. When one region has + another region or multiple regions beneath its fade area, then you will + hear the topmost region fade-out be mirrored as a fade-in on the + underlying region(s). The grip for the topmost region will allow + changing the length and type of the crossfade into the underlying + region(s). In this way you can create a complicated series of + crossfades, and then layer another region atop the others, and fade + into that complicated series.

        -

        Ardour solves this problem by putting a crossfade at the beginning -and end of every region. The fades of the bottom-most region are -first rendered, and then each region is rendered on top of the one -below it, with fades at the end of each region providing a crossfade to -the region(s) beneath it.
        +

        An image here would probably help.

        + +

        + If a region doesn't have any region(s) under it, then the region is + crossfaded to silence; for convenience we call this a "fade" + rather than a crossfade.

        -

        It is important to understand that region fades are crossfades. When one region has -another region or multiple regions beneath its fade area, then you will -hear the topmost region fade-out be mirrored as a fade-in on the -underlying region(s). The grip for the topmost region will allow -changing the length and type of the crossfade into the underlying -region(s). In this way you can create a complicated series of -crossfades, and then layer another region atop the others, and fade -into _that_ complicated series. An image here would -probably help.
        + +

        Fade Shapes

        +

        + To activate/deactivate or change the shape of a region's fade-in or + fade-out, hover the cursor over the region fade grip till the cursor tip + indicates region fade editing and context-click to bring up a context + menu. In the context menu there is a list of options for the + region fade. Activate/Deactivate enables and + disables the region fade.

        -

        If a region doesn't have any region(s) under it, then the region is -crossfaded to silence; for convenience we call this a "fade" -rather than a crossfade.
        + +

        + Because each fade is also a crossfade, it has an inverse fade shape + for the audio beneath the fade. It is important to know how the + shapes differ, and which are most suitable for various editing tasks.

        -

        Fade Shapes
        -

        -

        To activate/deactivate or change the shape of a region's fadein or -fade-out, hover the cursor over the regionfade grip till the cursor tip -indicates region fade editing and context-click to bring up a context -menu. In the context menu there is a list of options for the -regionfade. Activate/Deactivate enables and -disables the regionfade.
        + +

        + The different types of fades are:

        -

        Because each fade is also a crossfade, it has an inverse fade shape -for the audio beneath the fade. It is important to know how the -shapes differ, and which are most suitable for various editing tasks.
        + +

        +
        Linear
        +
        A simple linear coefficient decrease, and its mathematical inverse. A Linear fade starts attentuating quickly and then cuts off even more abruptly at lower levels. When used as a crossfade, the signals are each -6dB attenuated at the midpoint. This is the correct crossfade to use with highly-correlated signals for a smooth transition.
        +
        Constant Power
        +
        The constant power curve starts fading slowly and then cuts off abruptly. When used as a crossfade between 2 audio regions, the signals are symetrically attenuated, and they each reach -3dB at the midpoint. This is the correct crossfade to use when you want to splice audio in the general (uncorrelated) case.
        +
        Symmetric
        +
        The Symmetric fade starts slowly, then attenuates significantly before transitioning to a slower fade-out near the end of the fade. When used as a crossfade, the Symmetric curve is not mathematically correct like the Equal Power or Linear curves, but it provides a slower fade-out at low volumes. This is sometimes useful when editing two entire works of music together so that the transition is more gradual.
        +
        Fast
        +
        The Fast curve is a linear decibel fade; It sounds like a perfectly smooth fader or knob moved to silence. This shape is excellent as a general-purpose fade-in. When used as a crossfade, the inverse fade curve maintains constant power but is therefore non-symmetric; so its use is limited to those cases where the user finds it appropriate.
        +
        Slow
        +
        The Slow curve is a modified linear decibel fade. The initial curve starts more gradually so that it has a less abrupt transition near unity. After that, it sounds like a perfectly smooth fader or knob moved to silence. This shape is excellent as a general-purpose fade-out. When used as a crossfade, the inverse fade curve maintains constant power but is therefore non-symmetric; so its use is limited to those cases where the user finds it appropriate.
        +
        + +

        + Although these fade shapes serve specific purposes, any of the shapes is usable in certain situations. The final decision is an artistic choice rather than a rigidly prescribed one.

        -

        The different types of fades are:
        + +

        + These fade curves are developed to provide a range of common uses, and + are developed with the least possible amount of changes in the "slope" + of the line. This provides artifact-free crossfades. Some + DAWs provide complicated fade editors with parametric "spline" controls + of the fade curves. While it might be interesting to develop a + fade curve with a faster cutoff, the mathematical difference between + this and simply shortening the fade is vanishingly small; the + amount of effort to shorten the fade is much easier than fooling around with a + crossfade editor dialog.

        -
          -
        • Linear : A simple linear coefficient decrease, and its -mathematical inverse. A Linear fade starts attentuating quickly -and then cuts off even more abruptly at lower levels. When used -as a crossfade, the signals are each -6dB attenuated at the midpoint. -This is the correct crossfade to use with highly-correlated signals for -a smooth transition.
          -
          • -
        • Constant Power : The constant power curve starts fading -slowly and then cuts off abruptly. When used as a crossfade -between 2 audio regions, the signals are symetrically attenuated, and -they each reach -3dB at the midpoint. This is the correct crossfade to -use when you want to splice audio in the general ( uncorrelated ) case.
          -
          • -
        • Symmetric : The Symmetric fade starts slowly, then -attenuates significantly before transitioning to a slower fade-out near -the end of the fade. When used as a crossfade, the Symmetric -curve is not mathematically correct like the Equal Power or Linear -curves, but it provides a slower fade-out at low volumes. This is -sometimes useful when editing 2 entire music works together so that the -transition is more gradual.
          -
          • -
        • Fast : The Fast curve is a linear decibel fade; It sounds -like a perfectly smooth fader or knob moved to silence. This shape is -excellent as a general-purpose fade-in. When used as a -crossfade, the inverse fade curve maintains constant power but is -therefore non-symmetric; so its use is limited to those cases where the -user finds it appropriate.
          • -
        • Slow : The Slow curve is a modified linear decibel fade. -The initial curve starts more gradually so that it has a less -abrupt transition near unity. After that, it sounds like a -perfectly smooth fader or knob moved to silence. This shape is excellent as -a general-purpose fade-out. When used as a crossfade, the -inverse fade curve maintains constant power but is therefore -non-symmetric; so its use is limited to those cases where the user -finds it appropriate.
          -
          • -
        -

        Although these fade shapes serve specific purposes, you might find that -any of the shapes is usable in your situation. The final decision -is an artistic choice rather than a

        -
        -

        These fade curves are developed to provide a range of common uses, and -are developed with the least possible amount of changes in the "slope" -of the line. This provides artifact-free crossfades. Some -DAWs provide complicated fade editors with parametric "spline" controls -of the fade curves. While it might be interesting to develop a -fade curve with a faster cutoff, the mathematical difference between -this and simply shortening the fade is vanishingly small; and the -amount of effort to shorten the fade is much easier than messing with a -crossfade editor dialog.

        + diff --git a/_manual/15_editing-and-arranging/10_separation.html b/_manual/15_editing-and-arranging/10_separation.html index 33720d9..a209c55 100644 --- a/_manual/15_editing-and-arranging/10_separation.html +++ b/_manual/15_editing-and-arranging/10_separation.html @@ -3,5 +3,6 @@ layout: default title: Separation --- +

        ADD CONTENT

        {% children %} diff --git a/_manual/15_editing-and-arranging/10_separation/01_separate-under.html b/_manual/15_editing-and-arranging/10_separation/01_separate-under.html index 4bc3128..dd4d26f 100644 --- a/_manual/15_editing-and-arranging/10_separation/01_separate-under.html +++ b/_manual/15_editing-and-arranging/10_separation/01_separate-under.html @@ -9,20 +9,26 @@ title: Separate Under ends of the overlapping one, with no overlaps. To do this, select the upper region, then choose Edit > Separate > Separate Under. This will split the lower region so that it no longer overlaps - the upper region at all.
        + the upper region at all. +

        + +

        Here is an example where we start with a short region placed so that it overlaps a longer region:

        -region arrangement before separate under + +

        region arrangement before separate under

        +

        When we perform the Separate Under edit, the lower region splits in two, with boundaries exactly positioned at the edges of the upper region:

        -region arrangement after separate under + +

        region arrangement after separate under

        +

        If the upper region covers only one end of the lower region, then this operation is equivalent to - Trim to Next or Trim to Previous, - depending on which end is covered. + Trim to Next/Previous Region, depending on which end is covered.

        - + diff --git a/_manual/15_editing-and-arranging/10_separation/02_separate-range.html b/_manual/15_editing-and-arranging/10_separation/02_separate-range.html index ee5c65d..218bb27 100644 --- a/_manual/15_editing-and-arranging/10_separation/02_separate-range.html +++ b/_manual/15_editing-and-arranging/10_separation/02_separate-range.html @@ -3,9 +3,10 @@ layout: default title: Separate Range --- +

        Add example with images; 1p ≥ 1,000w

        A final new editing feature is an operation in the context menu of a - range labelled Separate Regions Under Range. + range labeled Separate Regions Under Range. This splits any selected regions that are covered by the range at both ends of the range (or just one, if the range only covers part of the region). This makes it easy to generate regions that correspond diff --git a/_manual/15_editing-and-arranging/11_strip-silence-from-audio-regions.html b/_manual/15_editing-and-arranging/11_strip-silence-from-audio-regions.html index ae4462b..2bb6f98 100644 --- a/_manual/15_editing-and-arranging/11_strip-silence-from-audio-regions.html +++ b/_manual/15_editing-and-arranging/11_strip-silence-from-audio-regions.html @@ -9,15 +9,19 @@ menu_title: Stripping Silence Silence to detect silence (based on a user-chosen threshold in dBFS), 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: + 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:

        -strip silence dialog + +

        + strip silence dialog +

        +

        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.

        - + diff --git a/_manual/15_editing-and-arranging/12_edit-midi.html b/_manual/15_editing-and-arranging/12_edit-midi.html index 00b36df..fd6658e 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi.html +++ b/_manual/15_editing-and-arranging/12_edit-midi.html @@ -4,37 +4,29 @@ title: Edit MIDI ---

        - Ardour's handling of MIDI editing differs from most other DAWs - and MIDI sequencers. + Ardour's handling of MIDI editing differs from most other DAWs and MIDI sequencers.

        Key features of Ardour MIDI handling

        +
        • - All editing is done in-place, in-window. There is no separate piano roll - window or pane. Edit notes right where you see them. + All editing is done in-place, in-window. There is no separate piano roll window or pane. Edit notes right where you see them.
        • - All MIDI I/O is done via JACK for sample accurate timing and maximal - efficiency when communicating with external software synthesizers. + All MIDI I/O is done via JACK for sample accurate timing and maximal efficiency when communicating with external software synthesizers.
        • - Every MIDI track has its own JACK MIDI port for input; it may have an - arbitrary combination of audio and MIDI outputs, depending on the signal - processing in the track; the full flexibility of JACK connectivity is - present for MIDI just as it is for audio. + Every MIDI track has its own JACK MIDI port for input; it may have an arbitrary combination of audio and MIDI outputs, depending on the signal processing in the track; the full flexibility of JACK connectivity is present for MIDI just as it is for audio.
        • - Full automation for MIDI tracks, integrated with the handling of all MIDI - CC data for each track. + Full automation for MIDI tracks, integrated with the handling of all MIDI CC data for each track.
        • - Controllers (CC data) can be set to discrete or continuous modes (the - latter will interpolate between control points and send additional - data). + Controllers (CC data) can be set to discrete or continuous modes (the latter will interpolate between control points and send additional data).
        • - There is a Normal and a Percussive mode for note data editing. + There is a Normal and a Percussive mode for note data editing.
        • The scroomer is a combination scroll/zoom tool for altering @@ -43,25 +35,18 @@ title: Edit MIDI

        Notable Differences

        +
        • - Fader (volume) control currently operates on transmitted MIDI data, not by sending CC - #7. + Fader (volume) control currently operates on transmitted MIDI data, not by sending CC #7.
        • - All note/data editing is per-region. There are no cross-region operations at this - time. + All note/data editing is per-region. There are no cross-region operations at this time.
        • - By default, copying a MIDI region creates a deep link - — both regions share the same data source, and edits to the contents of - one will affect the other. To break this link, select - MIDI > Unlink from other copies from the region - context menu, after which the selected region(s) will have their own copies - of only the data that they visually display on screen. You will not - be able to trim the region back its original length after an Unlink operation, - and the operation cannot be undone. + By default, copying a MIDI region creates a deep link—both regions share the same data source, and edits to the contents of one will affect the other. To break this link, select MIDI > Unlink from other copies from the region context menu, after which the selected region(s) will have their own copies of only the data that they visually display on screen. You will not be able to trim the region back its original length after an Unlink operation, and the operation cannot be undone.
        {% children %} + diff --git a/_manual/15_editing-and-arranging/12_edit-midi/01_fundamental-concepts.html b/_manual/15_editing-and-arranging/12_edit-midi/01_fundamental-concepts.html index 9ad5758..277d38b 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/01_fundamental-concepts.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/01_fundamental-concepts.html @@ -3,7 +3,10 @@ layout: default title: Fundamental Concepts --- +

        Check to see if this is still true for v5

        +

        Ardour's MIDI editing is based on two basic principles:

        +
        1. Editing should be done without having to enter a new window
        2. @@ -11,6 +14,7 @@ title: Fundamental Concepts or completely with the mouse, or with any combination of the two.
        +

        Currently, MIDI editing is primarily restricted to note data. Other kinds of data (controller events, sysex data) are present and can be @@ -26,6 +30,7 @@ title: Fundamental Concepts e key (by default) toggles between region level and note level editing, as will double-clicking on a MIDI region.

        +

        One very important thing to note: editing note information in Ardour occurs in only a single region. There is no way currently to edit in note diff --git a/_manual/15_editing-and-arranging/12_edit-midi/02_create-midi-tracks.html b/_manual/15_editing-and-arranging/12_edit-midi/02_create-midi-tracks.html index 664bb27..09e9722 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/02_create-midi-tracks.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/02_create-midi-tracks.html @@ -8,6 +8,7 @@ title: Create MIDI Tracks Add Track/Bus. In the Add Track/Bus dialog, pick MIDI Track from the combo selector at the upper right.

        +

        You may decide to use a track template if you have one. You may also know the instrument (a plugin that will generate audio in response @@ -16,3 +17,5 @@ title: Create MIDI Tracks generate audio output.

        +

        Broken link, remove "you"s

        + diff --git a/_manual/15_editing-and-arranging/12_edit-midi/03_create-midi-regions.html b/_manual/15_editing-and-arranging/12_edit-midi/03_create-midi-regions.html index eb0e2ee..223d66a 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/03_create-midi-regions.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/03_create-midi-regions.html @@ -7,14 +7,16 @@ title: Create MIDI Regions Although recording MIDI is a common way to create new MIDI regions, it is often desirable to do so as part of editing/arranging.

        +

        To create a new MIDI region, simply Left-click in - a MIDI track. A region will be created that is one bar long. You can - trim it to any - length you want. + a MIDI track. A region will be created that is one bar long. It can + trimmed to any + length desired.

        +

        Broken link

        +

        - Once you have created a region, you will probably want to - Add some notes to it. + Once a region has been created, notes can be added to it.

        diff --git a/_manual/15_editing-and-arranging/12_edit-midi/04_add-new-notes.html b/_manual/15_editing-and-arranging/12_edit-midi/04_add-new-notes.html index f186c3d..983eeb8 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/04_add-new-notes.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/04_add-new-notes.html @@ -5,23 +5,11 @@ title: Add New Notes

        Adding new notes

        - In general, you will probably do most MIDI editing with the mouse in object - mode. This allows you to select notes, copy, move or delete them and alter - their properties (see below). But at some point, you're going to want to - add notes to a MIDI region using the mouse, and if they are to be - anything other than a fixed length, this means dragging with the mouse. - Since this would normally be a selection operation if the mouse is in object - mode, there needs to be some way for you to tell Ardour that you are trying - to draw new notes within a MIDI region. Ardour provides two ways - do this. One is to leave the mouse in object mode and - Left-drag. The other, useful if you plan to - enter a lot of notes for a while, is to switch the mouse into - Draw Notes mode, which will now interpret any drags - and clicks as requests to add a new note. For obvious reasons, you cannot - use Draw Notes mode while using region-level editing. + In general, most MIDI editing will be done with the mouse in object mode. This allows selecting notes, copying, moving or deleting them and altering their properties (see below). Adding notes to a MIDI region using the mouse requires dragging with the mouse if they are to be anything other than a fixed length. Since this would normally be a selection operation if the mouse is in object mode, there needs to be some way to tell Ardour to draw new notes within a MIDI region. Ardour provides two ways do this: one is to leave the mouse in object mode and Left-drag; the other, useful if entering a lot of notes for a while, is to switch the mouse into Draw Notes mode, which will now interpret any drags and clicks as requests to add a new note. For obvious reasons, Draw Notes mode cannot be used while using region-level editing.

        So, to summarize:

        +
        Selecting, moving, copying, trimming, deleting regions
        @@ -40,9 +28,11 @@ title: Add New Notes
    -

    - Note that is also a - a step entry editor - allowing you to enter notes from a virtual keyboard and lots more besides. + + +

     

    + +

    + It is also a a step entry editor allowing entry of notes from a virtual keyboard, and lots more besides.

    - + diff --git a/_manual/15_editing-and-arranging/12_edit-midi/05_change-note-properties.html b/_manual/15_editing-and-arranging/12_edit-midi/05_change-note-properties.html index b8bb672..e5fa691 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/05_change-note-properties.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/05_change-note-properties.html @@ -4,10 +4,10 @@ title: Change Note Properties ---

    - You can view all the details about a selected note by context-clicking on - it. The dialog that pops up will also allow you to modify all the properties - of the selected note(s). You can modify individual properties more efficiently - using the techniques described below. + Details about a selected note can be viewed by context-clicking on it. The + dialog that pops up will also allow modification of all the properties of the + selected note(s). Individual properties can be modified more efficiently using + the techniques described below:

    @@ -21,8 +21,8 @@ title: Change Note Properties ↓ reduces the pitch of the selected notes.
    If any of the selected notes are already at the maximum or minimum value, no changes will be made to any of the notes, to preserve relative pitches. - You can override this with . The default shift - distance is one semitone. Use to alter this to + This can be overridden with ‌. The default shift + distance is one semitone. Use ‌ to alter this to one octave.
    Changing velocity values
    @@ -33,16 +33,16 @@ title: Change Note Properties notes.
    If any of the selected notes are already at the maximum or minumum value, no changes will be made to any of the notes, to preserve relative velocities. - You can override this with . - You can also press v to popup a dialog that will allow you to set + This can be overridden with ‌. + Presssing v will popup a dialog that will allow the setting of the absolute velocity value of each selected note. Finally, the scroll wheel ⇑ ⇓ will also - adjust notes in the same way as the arrow keys (note that like the arrow keys - it only affects selected notes, not the note the pointer is over). + adjust notes in the same way as the arrow keys. +

    Like the arrow keys, it only affects selected notes, not the note the pointer is over.

    Changing channel
    - Press c to bring up a dialog that allow you to see and alter the + Press c to bring up a dialog that allows viewing and altering the MIDI channel of the selected notes. If the selected notes use different channels, they will all be forced to the newly selected channel.
    @@ -54,18 +54,21 @@ title: Change Note Properties later). For the opposite effect, use ,/.. The note will be altered by the current grid setting. To change the start/end positions by 1/128th of a beat, use the modifier in addition to these shortcuts. + class="mod2">‌ modifier in addition to these shortcuts.
    Quantization
    q will quantize the selected notes using the current quantize settings. If the quantize settings have not been set for this session yet, the quantize dialog will appear. q will display the - quantize dialog to allow you to reset the quantize settings, and then - quantizes the selected notes. The default quantize settings are: quantize + quantize dialog to allow resetting of the quantize settings, and then + quantize the selected notes. The default quantize settings are: quantize note starts to the current grid setting, no swing, no threshold, full strength.
    Step Entry, Quantize etc.
    -
    +
    missing
    + +

    Add missing content

    + diff --git a/_manual/15_editing-and-arranging/12_edit-midi/06_handle-overlapping-notes.html b/_manual/15_editing-and-arranging/12_edit-midi/06_handle-overlapping-notes.html index 9be7268..cc5c61c 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/06_handle-overlapping-notes.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/06_handle-overlapping-notes.html @@ -11,7 +11,7 @@ menu_title: Overlapping Notes for the same note number on the same channel before a NoteOff for the first NoteOn. It is more or less impossible to do this with a physical MIDI controller such as a keyboard, but remarkably easy to trigger when editing - in a DAW - simply overlapping two instances of the same note will do it. + in a DAW—simply overlapping two instances of the same note will do it.

    Ardour offers many options for how to deal with instances where you overlap @@ -24,7 +24,7 @@ menu_title: Overlapping Notes

    never allow them
    Edits that would create note overlaps are not allowed
    don't do anything in particular
    -
    Ardour leaves overlapping notes alone — the behaviour of a MIDI receiver (plugin or hardware) is undefined
    +
    Ardour leaves overlapping notes alone—the behaviour of a MIDI receiver (plugin or hardware) is undefined
    replace any overlapped existing note
    When one note is moved to overlap another, remove the one that wasn't being moved
    shorten the overlapped existing note
    @@ -35,7 +35,7 @@ menu_title: Overlapping Notes
    When one note is moved to overlap another, merge them both to form one (longer) note

    - Changing the option in use will not retroactively make changes — it will + Changing the option in use will not retroactively make changes—it will only affect new note overlaps created while the option remains chosen.

    diff --git a/_manual/15_editing-and-arranging/12_edit-midi/08_note-selection.html b/_manual/15_editing-and-arranging/12_edit-midi/08_note-selection.html index 2e24288..a49fd6e 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/08_note-selection.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/08_note-selection.html @@ -28,7 +28,7 @@ title: Note Selection spanned note range.

  • - Clicks on the piano header of the track (if visible — the track must + Clicks on the piano header of the track (if visible—the track must be tall enough to display it) will select all occurences of that note.
  • diff --git a/_manual/15_editing-and-arranging/12_edit-midi/09_quantize-midi.html b/_manual/15_editing-and-arranging/12_edit-midi/09_quantize-midi.html index c7eb2ce..4da7a63 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/09_quantize-midi.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/09_quantize-midi.html @@ -3,14 +3,18 @@ layout: default title: Quantize MIDI --- - -

    quantize dialog

    +

    Needs fleshing out; this is a bit thin at the moment

    + +

    quantize dialog

    +

    Accessed via q, the dialog includes:

    +
      -
    • Options for grid, legato amd groove quantize
      • +
    • Options for grid, legato and groove quantize
    • Snap note start, or end
    • Snap to current grid, or many beat subdivisions
    • Quantize threshold (how far away from a chosen position a note must be in order to be quantized)
    • Strength (how close to move a note to its new position, as a percentage of the nominal distance)
    • Swing
    + diff --git a/_manual/15_editing-and-arranging/12_edit-midi/10_step-entry.html b/_manual/15_editing-and-arranging/12_edit-midi/10_step-entry.html index 28fefb5..8a6d59f 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/10_step-entry.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/10_step-entry.html @@ -4,20 +4,24 @@ title: Step Entry ---

    - Sometimes you will want to edit MIDI data directly from a connected - MIDI device like a music keyboard or pad controller. Sometimes you will - 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. + Sometimes editing MIDI data directly from a connected MIDI device like a musical + keyboard or pad controller is desired; sometimes using the mouse is. Sometimes + the fine-grained control, precision and speed of entry that comes from using a + custom note entry dialog is; the Step Entry dialog aims to be the + latter.

    +

    - The step entry dialog is accessed via a right click context menu on the - rec-enable button, because step entry is related to recording - MIDI data. You cannot simultaneously step edit and record MIDI via the - track's MIDI port. + The step entry dialog is accessed via a right click context menu on the + rec-enable button, because step entry is related to recording MIDI + data—step editing and recording MIDI via the track's MIDI port cannot be + done simultaneously.

    - -

    The dialog (quite closely modelled on Logic's) contains:

    + +

    + +

    The dialog (closely modeled after Logic's) contains:

    +
    • Chord entry switch (successive notes are stacked in a chord until @@ -45,8 +49,10 @@ title: Step Entry
    • Buttons to add bank or program change events
    • a full 10 octave virtual keyboard
    +

    - More or less all actions in the step entry dialog can be driven - directly from the keyboard, so you do not need to keep moving back - and forth from keyboard to mouse to do complex data insertion. + More or less all actions in the step entry dialog can be driven directly from + the keyboard, so moving back and forth from keyboard to mouse to do complex data + insertion is unnecessary.

    + diff --git a/_manual/15_editing-and-arranging/12_edit-midi/11_patch-change.html b/_manual/15_editing-and-arranging/12_edit-midi/11_patch-change.html index a5998a4..635600d 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/11_patch-change.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/11_patch-change.html @@ -14,24 +14,26 @@ title: Patch Change flags, as shown below:

    +

    Add missing images

    +

    Inserting Patch Changes

    Ensure that the - edit point is - located where you want the patch change to be (within an existing + edit point is + located where the patch change should be (within an existing MIDI region). Context click, and from the MIDI region's context menu, select MIDI > Insert Patch Change. A - dialog will appear allowing you to set the bank and program values. + dialog will appear allowing the setting of the bank and program values.

    Modifying Patch Changes

    Context-clicking on a patch change will bring up the same dialog that - was used to create it, allowing you to modify the program and/or bank + was used to create it, allowing the modification of the program and/or bank numbers.

    - You can also use the mouse wheel: ⇑/⇑/⇓ on the patch change will alter the program number, ⇑/⇓ will modify the bank number. @@ -52,5 +54,8 @@ title: Patch Change

    Names for Patch Numbers: MIDNAM files

    - ... + …mising…

    + +

    Add missing content

    + diff --git a/_manual/15_editing-and-arranging/12_edit-midi/12_copy-midi-region.html b/_manual/15_editing-and-arranging/12_edit-midi/12_copy-midi-region.html index 60d2d32..bf17ecd 100644 --- a/_manual/15_editing-and-arranging/12_edit-midi/12_copy-midi-region.html +++ b/_manual/15_editing-and-arranging/12_edit-midi/12_copy-midi-region.html @@ -36,18 +36,10 @@ menu_title: Copy MIDI Region

    Making an existing copy of a MIDI region independent

    - Context-click on the MIDI region you want to be - independent. From the context menu, select MIDI > Unlink From - Other Copies. The copy is now using an independent version of - the data, and edits to the copy will affect only the copy. Other - copies will continue to share data. + Context-click on the MIDI region to be made independent. From the context menu, select MIDI > Unlink From Other Copies. The copy is now using an independent version of the data, and edits to the copy will affect only the copy. Other linked copies will continue to share data.

    - Note that the copied data only covers the extent of the region when - the copy is made. If the region was already trimmed and then a copy - is made, an independent copy will have no access to data that is - earlier or later than the bounds of the region it was copied - from. Put differently, if you make an independent copy of a trimmed - MIDI region, you cannot "untrim" it to a larger size. + The copied data only covers the extent of the region when the copy is made. If the region was already trimmed and then a copy is made, an independent copy will have no access to data that is earlier or later than the bounds of the region it was copied from. Put differently, if an independent copy of a trimmed MIDI region is made, it cannot be "untrimmed" to a larger size.

    + diff --git a/_manual/16_automation.html b/_manual/16_automation.html index e14a309..6a79eb2 100644 --- a/_manual/16_automation.html +++ b/_manual/16_automation.html @@ -3,4 +3,6 @@ layout: default title: Automation --- +

    ADD MISSING CONTENT

    • All automation related to mixing, such as gain, pan
    • Plugin automation
    • Et cetera

    + {% children %} diff --git a/_manual/16_automation/01_midi-scenes.html b/_manual/16_automation/01_midi-scenes.html index 8b641f1..54896b7 100644 --- a/_manual/16_automation/01_midi-scenes.html +++ b/_manual/16_automation/01_midi-scenes.html @@ -17,7 +17,7 @@ the "Marker" bar.

    Technically, scene changes are delivered as a combination of bank and -program change MIDI messages. MIDI allows for 16384 banks, each with +program change MIDI messages. MIDI allows for 16,384 banks, each with 128 programs.

    @@ -34,15 +34,15 @@ transport is rolling, a new marker will be created for each scene change message received via the "Scene In" port.

    -If 2 different scene changes are received within a certain time +If two different scene changes are received within a certain time period, only the later one will be recorded as a new marker. The -default threshold for this is 1 millisecond. +default threshold for this is one millisecond.

    If a scene change message is received while the playhead is close to an existing marker with an associated scene change, the recording process will alter the scene change in the existing marker rather than -adding a new one. The default threshold for this "proximity" test is 1 +adding a new one. The default threshold for this "proximity" test is one millisecond.

    @@ -77,4 +77,4 @@ This feature is not currently implemented. This feature is not currently implemented.

    -{% children %} + diff --git a/_manual/17_mixing.html b/_manual/17_mixing.html index 1ece4d5..b1b3554 100644 --- a/_manual/17_mixing.html +++ b/_manual/17_mixing.html @@ -3,4 +3,6 @@ layout: default title: Mixing --- +

    ADD CONTENT FFS

    + {% children %} diff --git a/_manual/17_mixing/01_muting-and-soloing.html b/_manual/17_mixing/01_muting-and-soloing.html index d59c6a2..9c609af 100644 --- a/_manual/17_mixing/01_muting-and-soloing.html +++ b/_manual/17_mixing/01_muting-and-soloing.html @@ -73,7 +73,7 @@ title: Muting and Soloing

    The solo-mute arrangement with a monitor bus is shown below:

    -mute/solo signal flow +mute/solo signal flow

    Here we have a number of tracks or busses (in orange). Each one has an output which feeds the master bus. In addition, each has PFL and AFL diff --git a/_manual/17_mixing/02_panning/01_mono_panner.html b/_manual/17_mixing/02_panning/01_mono_panner.html index 1fe1ccf..4fe681d 100644 --- a/_manual/17_mixing/02_panning/01_mono_panner.html +++ b/_manual/17_mixing/02_panning/01_mono_panner.html @@ -78,3 +78,4 @@ wheel may be used as follows:

    ⇓ or ⇒
    move position to the right by 5°
    + diff --git a/_manual/17_mixing/02_panning/03_stereo_panner.html b/_manual/17_mixing/02_panning/03_stereo_panner.html index c25feb7..846eebf 100644 --- a/_manual/17_mixing/02_panning/03_stereo_panner.html +++ b/_manual/17_mixing/02_panning/03_stereo_panner.html @@ -8,6 +8,7 @@ title: Stereo Panner behaviour is controlled by two parameters, width and position. By default, the panner is centered at full width.

    +

    The stereo panner assumes that the signals you wish to distribute are either uncorrelated (i.e. totally @@ -15,6 +16,7 @@ title: Stereo Panner mono-compatible, such as a co-incident microphone recording, or a sound stage that has been created with pan pots.*

    +

    With the default values it is not possible to alter the position, since the width is already spread entirely across both outputs. To @@ -24,12 +26,14 @@ title: Stereo Panner

    Stereo Panner User Interface

    +

    The panner user interface consists of three elements, divided between the top and bottom half. Click and/or drag in the top half to control position; click and/or drag in the bottom half to control width (see below for details).

    +

    In the top half is the position indicator, which shows where the center of the stereo image is relative to the left and right @@ -37,6 +41,7 @@ title: Stereo Panner centered between the left and right outputs. When it all the way to the left, the stereo image collapses to just the left speaker.

    +

    In the bottom half are two signal indicators, one marked "L" and the other "R". The distance between these two shows the width of the @@ -44,6 +49,7 @@ title: Stereo Panner single signal indicator marked "M" (for mono), whose color will change to indicate the special state.

    +

    It is possible to invert the outputs (see below) so that whatever would have gone to the right channel goes to the left and vice @@ -191,59 +197,66 @@ title: Stereo Panner

    Stereo panning caveats

    -The stereo panner will introduce unwanted side effects on -material that includes a time difference between the channels, such -as A/B, ORTF or NOS microphone recordings, or delay-panned mixes.
    -When you reduce the with, you are effectively summing two highly -correlated signals with a delay, which will cause comb filtering. + The stereo panner will introduce unwanted side effects on + material that includes a time difference between the channels, such + as A/B, ORTF or NOS microphone recordings, or delay-panned mixes.
    + When you reduce the width, you are effectively summing two highly + correlated signals with a delay, which will cause comb filtering.

    +

    -Let's take a closer look at what happens when you record a source at 45° to the -right side with an ORTF stereo microphone array and then manipulate the width. + Let's take a closer look at what happens when you record a source at 45° to the + right side with an ORTF stereo microphone array and then manipulate the width.

    +

    -For testing, we apply a pink noise signal to both inputs of an Ardour stereo -bus with the stereo panner, and feed the bus output to a two-channel analyser. -Since pink noise contains equal energy per octave, the expected readout is a -straight line, which would indicate that our signal chain does not color the -sound: + For testing, we apply a pink noise signal to both inputs of an Ardour stereo + bus with the stereo panner, and feed the bus output to a two-channel analyser. + Since pink noise contains equal energy per octave, the expected readout is a + straight line, which would indicate that our signal chain does not color the + sound:

    + +

    -To simulate an ORTF, we use Robin Gareus' stereo balance -control LV2 to set the level difference and time delay. Ignore the Trim/Gain -— its purpose is just to align the test signal with the 0dB line of the -analyser. + To simulate an ORTF, we use Robin Gareus' stereo balance + control LV2 to set the level difference and time delay. Ignore the Trim/Gain—its purpose is just to align the test signal with the 0dB line of the + analyser.

    -

    -Recall that an ORTF microphone pair consists of two cardioids spaced 17 cm -apart, with an opening angle of 110°. -For a far source at 45° to the right, the time difference between the capsules -is 350 μs or approximately 15 samples at 44.1 kHz. The level difference -due to the directivity of the microphones is about 7.5 dB (indicated by the -distance between the blue and red lines in the analyser). + +

    + Recall that an ORTF microphone pair consists of two cardioids + spaced 17 cm apart, with an opening angle of 110°. For a far source at + 45° to the right, the time difference between the capsules is 350 μs + or approximately 15 samples at 44.1 kHz. The level difference due to the + directivity of the microphones is about 7.5 dB (indicated by the + distance between the blue and red lines in the analyser).

    +

    -Now for the interesting part: if we reduce the width of the signal to 50%, -the time-delayed signals will be combined in the panner. Observe what -happens to the frequency response of the left and right outputs: + Now for the interesting part: if we reduce the width of the signal to 50%, + the time-delayed signals will be combined in the panner. Observe what + happens to the frequency response of the left and right outputs:

    + +

    -You may argue that all spaced microphone recordings will undergo comb -filtering later, when the two channels recombine in the air between the speakers. -Perceptually however, there is a huge of difference: our hearing system is -very good at eliminating comb filters in the real world, where their component -signals are spatially separated. But once you combine them -inside your signal chain, this spatial separation is lost and the brain will -no longer be able to sort out the timbral mess. As usual, you -get to keep the pieces. + You may argue that all spaced microphone recordings will undergo comb + filtering later, when the two channels recombine in the air between the speakers. + Perceptually however, there is a huge of difference: our hearing system is + very good at eliminating comb filters in the real world, where their component + signals are spatially separated. But once you combine them + inside your signal chain, this spatial separation is lost and the brain will + no longer be able to sort out the timbral mess. As usual, you + get to keep the pieces.

    +

    -Depending on your material and on how much you need to manipulate the width, -some degree of comb filtering may be acceptable. Then again, it may not. Listen -carefully for artefacts if you manipulate unknown stereo signals — many -orchestra sample libraries for example do contain time-delay components. + Depending on your material and on how much you need to manipulate the width, + some degree of comb filtering may be acceptable. Then again, it may not. Listen + carefully for artefacts if you manipulate unknown stereo signals—many + orchestra sample libraries for example do contain time-delay components.

    - diff --git a/_manual/17_mixing/02_panning/04_vbap_panner.html b/_manual/17_mixing/02_panning/04_vbap_panner.html index 132628f..eaf25c6 100644 --- a/_manual/17_mixing/02_panning/04_vbap_panner.html +++ b/_manual/17_mixing/02_panning/04_vbap_panner.html @@ -8,6 +8,7 @@ title: VBAP Panner change in the near future, possibly affecting your mixes. Please do not rely on it for important production work while the dust settles.

    +

    VBAP is a versatile and straightforward method to pan a source around over an @@ -16,12 +17,14 @@ title: VBAP Panner

    Basic concepts

    +

    VBAP was developed by Ville Pulkki at Aalto University, Helsinki, in 2001. It works by distributing the signal to the speakers nearest to the desired direction with appropriate weightings, aiming to create a maximally sharp phantom source by using as few speakers as possible:

    +
    • one speaker, if the desired direction coincides with a speaker location,
      • @@ -29,19 +32,25 @@ title: VBAP Panner speakers,
    • and three speakers in the general 3D case.
    +

    Thus, if you move the panner onto a speaker, you can be sure that only this speaker will get any signal. This is handy when you need precise - 1:1 routing.
    + 1:1 routing. +

    + +

    The drawback of VBAP is that a moving source will constantly change its apparent sharpness, as it transitions between the three states mentioned above.

    +

    A horizontal VBAP panner has one parameter, the azimuth angle. A full-sphere panner offers an additional elevation angle control.

    +

    More elaborate implementations of VBAP also include a spread parameter, which will distribute the signal over a @@ -51,6 +60,7 @@ title: VBAP Panner

    Speaker layout

    +

    Each VBAP panner is specific to its speaker layout — the panner has @@ -58,8 +68,10 @@ title: VBAP Panner implementation must therefore include the possibility to define this layout.

    + The VBAP panner with 5 outputs +

    Ardour currently uses a simplified approach: if a track or bus has more than two output channels (which implies stereo), it assumes that you @@ -68,9 +80,12 @@ panner with 5 outputs"/> differ a bit from the actual auditory result, but you can still achieve any desired spatialisation.

    +

    Experimental 3D VBAP

    + The VBAP panner with 10 outputs, in experimental 3D mode +

    For tracks with 10 outputs, Ardour will currently assume a 3-dimensional speaker layout corresponding to Auro-3D 10.1, which is a horizontal 5.1 @@ -79,11 +94,14 @@ panner with 10 outputs, in experimental 3D mode"/>

    N:M panning

    + The VBAP panner in 4 in, 5 out mode +

    For tracks and busses with more than one input, Ardour will (for now) assume that you wish to distribute the inputs symmetrically along the latitude around the panner direction. The width parameter controls the opening angle of the distribution sector.

    + diff --git a/_manual/18_exporting/01_export-dialog.html b/_manual/18_exporting/01_export-dialog.html index e0b852c..b52c8aa 100644 --- a/_manual/18_exporting/01_export-dialog.html +++ b/_manual/18_exporting/01_export-dialog.html @@ -4,99 +4,96 @@ title: Export Dialog ---

    -When you have finished mixing your session, you probably want to export it to a sound -file to burn to a CD, upload to the web, or whatever. Session > Export > Export to Audio file(s)... -shows the Export Dialog to do this. - + When you have finished mixing your session, you probably want to export it to a sound file to burn to a CD, upload to the web, or whatever. Session > Export > Export to Audio file(s)... shows the Export Dialog to do this.

    +

    -You can also export the outputs of multiple tracks & busses all at once via -Session > Export > Stem Export.... + You can also export the outputs of multiple tracks & busses all at once via + Session > Export > Stem Export....

    File Format

    - + + +

    -This tab contains controls for the format of the exported audio file. -You can enable more than one format here, in which case each will be exported in turn. -Ardour is supplied with a list of export formats, including: -

      -
    • CD (Red Book)
      • -
    • DVD-A
      • -
    • FLAC 24 bit
      • -
    • FLAC 24 bit (tagged)
      • -
    • Ogg_Vorbis
      • -
    • Ogg_Vorbis (tagged)
      • -
    • Ring Tone
      • -
    -You can edit these formats, or create your own, with the "Edit Export Format Profile" dialog, which -appears when you click the "Edit" or "New" button to the right of the drop-down list of formats. + This tab contains controls for the format of the exported audio file. You can enable more than one format here, in which case each will be exported in turn. Ardour is supplied with a list of export formats, including: +
      +
    • CD (Red Book)
      • +
    • DVD-A
      • +
    • FLAC 24 bit
      • +
    • FLAC 24 bit (tagged)
      • +
    • Ogg_Vorbis
      • +
    • Ogg_Vorbis (tagged)
      • +
    • Ring Tone
      • +
    + You can edit these formats, or create your own, with the "Edit Export Format Profile" dialog, which appears when you click the "Edit" or "New" button to the right of the drop-down list of formats.

    -You can also create a 'Preset' consisting of one or more formats. Ardour provides some ready-made presets, too: - -

      -
    • CD + DVD-A
      • -
    • CD + FLAC
      • -
    • CD + FLAC (tagged)
      • -
    • CD + Ogg_Vorbis + FLAC (tagged)
      • -
    • CD + Ogg_Vorbis
      • -
    • CD + Ogg_Vorbis (tagged)
      • -
    • CD only
      • -
    • DVD-A only
      • -
    • FLAC
      • -
    • FLAC (tagged)
      • -
    • Ogg_Vorbis + FLAC
      • -
    • Ogg_Vorbis + FLAC (tagged)
      • -
    • Ogg_Vorbis
      • -
    • Ogg_Vorbis (tagged)
      • -
    + You can also create a 'Preset' consisting of one or more formats. Ardour provides some ready-made presets, too: +
      +
    • CD + DVD-A
      • +
    • CD + FLAC
      • +
    • CD + FLAC (tagged)
      • +
    • CD + Ogg_Vorbis + FLAC (tagged)
      • +
    • CD + Ogg_Vorbis
      • +
    • CD + Ogg_Vorbis (tagged)
      • +
    • CD only
      • +
    • DVD-A only
      • +
    • FLAC
      • +
    • FLAC (tagged)
      • +
    • Ogg_Vorbis + FLAC
      • +
    • Ogg_Vorbis + FLAC (tagged)
      • +
    • Ogg_Vorbis
      • +
    • Ogg_Vorbis (tagged)
      • +

    Soundcloud upload

    +

    -When 'Upload to Soundcloud' is ticked on in any format's tab, a pane containing fields -to enter in Soundcloud account details (email and password), and what should happen -to the uploaded files will become visible. + When 'Upload to Soundcloud' is ticked on in any format's tab, a pane containing fields to enter in Soundcloud account details (email and password), and what should happen to the uploaded files will become visible.

    - + + +

    Make files public
    Choose whether to make uploaded files available to anyone via the Soundcloud web site.
    -
    Open uploaded files in browser
    Open each file on soundcloud in your browser after upload. -If you don't enable this, you can still see the URLs in the Log window.
    +
    Open uploaded files in browser
    Open each file on soundcloud in your browser after upload. If you don't enable this, you can still see the URLs in the Log window.
    Make files downloadable
    Choose whether to allow downloading of files uploaded to Soundcloud.

    +

    Time Span

    + - -

    Time Span

    -

    -This tab allows you to select the range (or ranges) of the timeline to export. By default, "session" is -enabled - this will export the whole session from the start marker to the end marker. + This tab allows you to select the range (or ranges) of the timeline to export. By default, "session" is enabled—this will export the whole session from the start marker to the end marker.

    Channels

    - + + +

    -Here you can choose which outputs (tracks or busses) should be sent to the exported file. + Here you can choose which outputs (tracks or busses) should be sent to the exported file.

    Stem Export

    - + + +

    -If you chose 'Stem Export', the 'Channels' tab appears slightly differently: -in this case each chosen channel (track or bus) is exported to its own file, -instead of all channels being mixed together into a single file. You can -choose to export either the region contents or the track output here in this -case. + If you chose 'Stem Export', the 'Channels' tab appears slightly differently: + in this case each chosen channel (track or bus) is exported to its own file, + instead of all channels being mixed together into a single file. You can + choose to export either the region contents or the track output here in this + case.

    {% children %} - diff --git a/_manual/18_exporting/02_edit-export-format-profile.html b/_manual/18_exporting/02_edit-export-format-profile.html index b158bdf..a1e5ad5 100644 --- a/_manual/18_exporting/02_edit-export-format-profile.html +++ b/_manual/18_exporting/02_edit-export-format-profile.html @@ -6,133 +6,151 @@ title: Export Format Profiles

    Export Format Profiles

    -An Export Format Profile specifies the file format in which Ardour will export -audio files, and also other audio file export options. + An Export Format Profile specifies the file format in which Ardour will export + audio files, and also other audio file export options.

    -Export Format Profiles are edited via the 'Edit Export Format Profile' dialog. + Export Format Profiles are edited via the 'Edit Export Format Profile' dialog.

    - -

    + +

    Normalize

    +

    -If enabled, peak levels of exported files will be normalized to the level chosen here. + If enabled, peak levels of exported files will be normalized to the level chosen here.

    Trim/Add silence at start/end

    -

    +

    Compatibility/Quality/File format/Sample rate

    +

    Compatibility

    +

    -Selecting an item in the 'Compatibility' column will display options in the -other columns that are incompatible with that item in red. + Selecting an item in the 'Compatibility' column will display options in the + other columns that are incompatible with that item in red.

    Quality

    +

    -The appropriate item in the 'Quality' column will be highlighted when you -choose a file format. Clicking on items in the 'Quality' column currently -doesn't seem to do anything useful. + The appropriate item in the 'Quality' column will be highlighted when you + choose a file format. Clicking on items in the 'Quality' column currently + doesn't seem to do anything useful.

    File format

    +

    -This column contains a list of Ardour's supported export file types. Click on -the format you want to use. + This column contains a list of Ardour's supported export file types. Click on + the format you want to use.

    Sample rate

    +

    -You can explicitly choose the sample rate of your exported files here, or -choose 'Session rate' to export in the current session's sample rate, without -sample rate conversion. + You can explicitly choose the sample rate of your exported files here, or + choose 'Session rate' to export in the current session's sample rate, without + sample rate conversion.

    Sample rate conversion quality

    +

    -If your chosen sample rate does not match the current session's sample rate, -choose the sample rate conversion quality here. Better quality options are -slower. + If your chosen sample rate does not match the current session's sample rate, + choose the sample rate conversion quality here. Better quality options are + slower.

    Options

    +

    -Options relevant to the chosen file format will appear here. -Categories of audio file format are: -

      -
    • Linear encoding
      • -
    • Broadcast Wave
      • -
    • Ogg Vorbis
      • -
    • FLAC
      • -
    + Options relevant to the chosen file format will appear here. + Categories of audio file format are: +
      +
    • Linear encoding
      • +
    • Broadcast Wave
      • +
    • Ogg Vorbis
      • +
    • FLAC
      • +
    +

    -Available options include a selection of the following:

    + Available options include a selection of the following: +

    Sample Format

    +

    -Choose the bit depth of exported files. + Choose the bit depth of exported files.

    Dithering

    +

    -If the exported files bit depth is less than Ardour's native bit depth, -choose the dithering algorithm to use. + If the exported files bit depth is less than Ardour's native bit depth, + choose the dithering algorithm to use.

    Create CUE file/Create TOC file

    -

    -As well as exporting an audio file, create a file (in CUE or TOC format -respectively) containg CD track information, as defined in the -Ranges & Marks List. +

    + As well as exporting an audio file, create a file (in CUE or TOC format + respectively) containg CD track information, as defined in the + Ranges & Marks List. +

    Tag with session's metadata

    +

    -If the exported file format supports metadata, use data entered in the -Session Metadata -window to tag the exported files. + If the exported file format supports metadata, use data entered in the + Session Metadata + window to tag the exported files.

    -

    Label

    +

    -The 'Label' field lets you choose the name which will be shown for this format -in the drop-down list of export formats in the 'File Formats' tab of the -Export dialog. + The 'Label' field lets you choose the name which will be shown for this format + in the drop-down list of export formats in the 'File Formats' tab of the + Export dialog. +

    Command to run post-export

    +

    -If this is not blank, it is considered as a command to be run after the export -of each file. Either the command must exist in $PATH, or you can specify an -absolute path to an executable file here. + If this is not blank, it is considered as a command to be run after the export + of each file. Either the command must exist in $PATH, or you can specify an + absolute path to an executable file here.

    -Certain sequences are allowed here to stand for the exported file name and the -like. Currently these are: -

    -
    %f
    -
    Full path & filename of the exported audio file
    -
    %d
    -
    Directory containing the exported audio file (including trailing directory separator)
    -
    %b
    -
    Basename of the exported audio file (without extension)
    -
    %s
    -
    Path to the current session file
    -
    %n
    -
    Name of the current session file
    -
    %%
    -
    A literal percent sign
    -
    + Certain sequences are allowed here to stand for the exported file name and the + like. Currently these are: +
    +
    %f
    +
    Full path & filename of the exported audio file
    +
    %d
    +
    Directory containing the exported audio file (including trailing directory separator)
    +
    %b
    +
    Basename of the exported audio file (without extension)
    +
    %s
    +
    Path to the current session file
    +
    %n
    +
    Name of the current session file
    +
    %%
    +
    A literal percent sign
    +
    +

    +

    -Any part of the command-line enclosed in double-quotes (") will be used as-is. + Any part of the command-line enclosed in double-quotes (") will be used as-is. +

    {% children %} - diff --git a/_manual/19_synchronization/02_latency-and-latency-compensation.html b/_manual/19_synchronization/02_latency-and-latency-compensation.html index 6b11a6b..5eeb342 100644 --- a/_manual/19_synchronization/02_latency-and-latency-compensation.html +++ b/_manual/19_synchronization/02_latency-and-latency-compensation.html @@ -48,7 +48,7 @@ menu_title: Latency

    The Latency chain

    -Latency chain +Latency chain

    Figure: Latency chain. The numbers are an example for a typical PC. With professional gear and an @@ -152,6 +152,7 @@ menu_title: Latency to the audio-signal that you hear on the speakers (and is not where Ardour reads files from disk).

    +

    As a side note, this is also one of the reasons why many projects start at timecode 01:00:00:00. When compensating for output latency the @@ -167,14 +168,18 @@ menu_title: Latency To achieve sample accurate timecode synchronization, the latency introduced by the audio setup needs to be known and compensated for.

    +

    In order to compensate for latency, JACK or JACK applications need to know exactly how long a certain signal needs to be read-ahead or delayed:

    -Jack Latency Compensation + +Jack Latency Compensation +

    Figure: Jack Latency Compensation.

    +

    In the figure above, clients A and B need to be able to answer the following two questions: diff --git a/_manual/19_synchronization/03_timecode-generators-and-slaves.html b/_manual/19_synchronization/03_timecode-generators-and-slaves.html index dfc3041..0cab69b 100644 --- a/_manual/19_synchronization/03_timecode-generators-and-slaves.html +++ b/_manual/19_synchronization/03_timecode-generators-and-slaves.html @@ -3,7 +3,6 @@ layout: default title: Timecode Generators and Slaves --- -

    Ardour supports three common timecode formats: LTC, @@ -11,16 +10,19 @@ title: Timecode Generators and Slaves MIDI Clock, as well as JACK-transport, a JACK-specific timecode implementation.

    +

    Ardour can generate timecode and thus act as timecode master, providing timecode information to other applications. Ardour can also be slaved to some external source in which case the playhead - follows the incoming timecode.
    + follows the incoming timecode. +

    + +

    Combining the timecode slave and generator modes, Ardour can also translate timecode. e.g create LTC timecode from incoming MTC.

    -

    Ardour Timecode Configuration

    @@ -49,7 +51,7 @@ title: Timecode Generators and Slaves This is pretty straightforward: simply turn it on. The MTC and MIDI-Clock generator do not have any options. The LTC generator has a configurable output level. JACK-transport cannot be generated. Jack itself is - always synced to its own cycle and cannot do varispeed — it will + always synced to its own cycle and cannot do varispeed—it will always be synced to a hardware clock or another JACK master.

    @@ -87,6 +89,7 @@ title: Timecode Generators and Slaves

    MTC Generator

    +

    The MTC generator has no options. Ardour sends full MTC frames whenever the transport is relocated or changes state (start/stop). @@ -95,17 +98,20 @@ title: Timecode Generators and Slaves

    LTC Generator

    +

    The level of the LTC generator output signal can be configured in in the Preferences > Transport dialog. By default it is set to -18 dBFS, which corresponds to 0dBu in an EBU calibrated system.

    +

    The LTC generator has an additional option to keep sending timecode even when the transport is stopped. This mode is intended to drive analog tape machines which unspool the tape if no LTC timecode is received.

    +

    LTC is send regardless of Ardour's transport speed. It is accurately generated even for very slow speeds (<5%) and only limited by the @@ -115,8 +121,8 @@ title: Timecode Generators and Slaves for high speeds.

    -

    Ardour Slave Configuration

    +

    The timecode source can be switched with the button just right of Ardour's main clock. By default it is set to Edit > Preferences > Transport.

    +

    When Ardour is chasing (synchronizing to) an external timecode source, the following cases need to be distinguished:

    +
    1. the timecode source shares the clock
    2. the timecode source is independent (no wordclock sync)
    +

    and

    +
    1. the timecode source uses the same FPS setting as Ardour
    2. the timecode source runs at different frames-per-second
    +

    In both cases the first option is preferred: clock sync + same FPS setting.

    Frames-per-second

    +

    If the frames-per-second do not match, Ardour can either re-calculate and map the frames, or the configured FPS (Session > @@ -151,6 +163,7 @@ title: Timecode Generators and Slaves > Preferences > Transport > Match session video frame rate to external timecode.

    +

    When enabled, the session video frame rate will be changed to match that of the selected external timecode source. When disabled, the session video @@ -159,24 +172,28 @@ title: Timecode Generators and Slaves flash red, and Ardour will convert between the external timecode standard and the session standard.

    +

    29.97 drop-frame timecode is another corner case. While the SMPTE 12M-1999 specifies 29.97df as 30000/1001 frames per second, not all hardware devices follow that standard. The checkbox Lock to 29.9700 fps instead of 30000/1001 allows - to use a compatibility mode for those devices.
    + to use a compatibility mode for those devices. +

    + +

    When enabled, the external timecode source is assumed to use 29.970000 fps instead of 30000/1001. SMPTE 12M-1999 specifies 29.97df as 30000/1001. The spec further mentions that drop-frame timecode has an accumulated error of -86 ms over a 24-hour period. Drop-frame timecode would compensate exactly for a NTSC color frame rate of 30 * 0.9990 (ie 29.970000). That is not the actual rate. However, - some vendors use that rate — despite it being against the specs - — because the variant of using exactly 29.97 fps yields zero timecode + some vendors use that rate—despite it being against the specs—because the variant of using exactly 29.97 fps yields zero timecode drift.

    Clock Sync Lock

    +

    As described in the On Clock and Time @@ -184,17 +201,20 @@ title: Timecode Generators and Slaves source is not in sample-sync with the audio hardware (and JACK), Ardour needs to run at varispeed to adjust for the discrepancy.

    +

    The checkbox External timecode is sync locked allows to select the behavior according to your setup. When enabled, it indicates that the selected external timecode source shares sync (Black & Burst, Wordclock, etc) with the audio interface.

    +

    In other words: if enabled, Ardour will only perform initial synchronization and keep playing at speed 1.0 instead of vari-speed adjusting to compensate for drift.

    +

    Note that vari-speed is unavailable when recording in Ardour, and all tracking happens at speed 1.0. So if you want to record in sync with @@ -202,29 +222,34 @@ title: Timecode Generators and Slaves

    MIDI Clock

    +

    MIDI Clock is not a timecode format but tempo-based time. The absolute reference point is expressed as beats-per-minute and Bar, Beat and Tick. There is no concept of sample-locking for MIDI clock signals. Ardour will vari-speed if necessary to chase the incoming signal.

    +

    Note that the MIDI Clock source must be connected to the ardour:MIDI clock in port.

    LTC - Linear Timecode

    +

    The LTC slave decodes an incoming LTC signal on a JACK audio port. It will auto-detect the frame rate and start locking to the signal once two consecutive LTC frames have been received.

    +

    The incoming timecode signal needs to arrive at the ardour:LTC-in port. Port-connections are restored for each session and the preference dialog offers an option to select it for all sessions.

    +

    Ardour's transport is aligned to LTC-frame start/end positions according to the SMPTE 12M-1999 specification, which means that the first bit of an @@ -233,7 +258,7 @@ title: Timecode Generators and Slaves the video Frame boundaries.

    -LTC frame alignment +LTC frame alignment

    Figure: LTC frame alignment for the 525/60 TV standard

    @@ -241,31 +266,37 @@ title: Timecode Generators and Slaves speed changes if the sync locked option is disabled.

    +

    While Ardour is chasing LTC, the main transport clock will display the received Timecode as well as the delta between the incoming signal and Ardour's transport position.

    +

    A global offset between incoming timecode and Ardour's transport can be configured in Session > Properties.

    +

    The user-bits in the received LTC frame are ignored.

    MTC - MIDI Timecode

    +

    Ardour's MTC slave parses full timecode messages as well as MTC quarter-frame messages arriving on the ardour:MTC in port. The transport will only start rolling once a complete sequence of 8 quarter frames has been received.

    +

    Ardour supports vari-speed and backwards playback but will only follow MTC speed changes if the sync locked option is disabled.

    +

    When Ardour is chasing MTC, the main transport clock will display the received Timecode as well as the delta between the incoming signal and @@ -273,16 +304,19 @@ title: Timecode Generators and Slaves

    JACK Transport

    +

    When slaved to jack, Ardour's transport will be identical to JACK-transport. As opposed to other slaves, Ardour can be used to control the JACK transport states (stopped/rolling). No port connections need to be made for jack-transport to work.

    +

    JACK-transport does not support vari-speed, nor offsets. Ardour does not chase the timecode but is always in perfect sample-sync with it.

    +

    JACK-transport also includes temp-based-time information in Bar:Beats:Ticks and beats-per-minute. However, only one JACK application can provide this diff --git a/_manual/20_default-keyboard-bindings.html b/_manual/20_default-keyboard-bindings.html index 2f4d75e..1140522 100644 --- a/_manual/20_default-keyboard-bindings.html +++ b/_manual/20_default-keyboard-bindings.html @@ -7,11 +7,12 @@ menu-title: Key Bindings

    Almost every available function in Ardour can be bound to a keyboard shortcut (and those few that cannot will usually respond to an OSC command). Ardour comes with a rich set of default key bindings for the most commonly used functions.

    +

    These bindings strive to be mnemonic, that is, easy and intuitive to remember, and follow widely accepted conventions. As a general rule, the first letter of an operation will be used for as a shortcut, if @@ -21,16 +22,17 @@ menu-title: Key Bindings useful ones, for example
    S for Region > Edit > Split" or
    - P for Transport > Playhead > Playhead to Mouse. + P for Transport > Playhead > Playhead to Mouse.

    +

    - Almost every key binding in Ardour can be changed in - Window > Key Bindings. + Almost every key binding in Ardour can be changed in Window > Key Bindings.

    +

    - The conventions for using modifier keys ( ,  ,   etc.) differ among platforms, so we - provide different default bindings for each. + The conventions for using modifier keys (‌, ‌, ‌ etc.) differ among platforms, so we provide different default bindings for each.

    {% children %} + diff --git a/_manual/21_preferences-and-session-properties/01_preferences-dialog.html b/_manual/21_preferences-and-session-properties/01_preferences-dialog.html index 32529c8..2952046 100644 --- a/_manual/21_preferences-and-session-properties/01_preferences-dialog.html +++ b/_manual/21_preferences-and-session-properties/01_preferences-dialog.html @@ -8,7 +8,8 @@ menu_title: Global Preferences These preferences apply to all Ardour sessions.

    -ardour preferences +<img src= - + {% children %} + diff --git a/_manual/21_preferences-and-session-properties/01_preferences-dialog/01_misc.html b/_manual/21_preferences-and-session-properties/01_preferences-dialog/01_misc.html index 0089089..4817b3a 100644 --- a/_manual/21_preferences-and-session-properties/01_preferences-dialog/01_misc.html +++ b/_manual/21_preferences-and-session-properties/01_preferences-dialog/01_misc.html @@ -8,7 +8,7 @@ menu_title: Misc Tab This tab contains settings that do not belong on the other tabs.

    -preferences +<img src=