From a3f513c99268b7d8e6f296e76bef7a56b6519a2e Mon Sep 17 00:00:00 2001 From: =?utf8?q?J=C3=B6rn=20Nettingsmeier?= Date: Sun, 2 Feb 2014 23:00:52 +0100 Subject: [PATCH] first batch of XHTML validation fixes --- .../01_about-ardour/03_why-is-it-called-ardour.html | 2 +- ...understanding-basic-concepts-and-terminology.html | 6 +++--- .../08_platform-specifics/01_ubuntu-linux.html | 4 ++-- _manual/04_ardours-interface.html | 4 ++-- .../01_starting-ardour-from-the-command-line.html | 12 +++++------- .../01_editor-lists/02_region-list.html | 4 ++-- .../01_editor-lists/04_track--bus-group-list.html | 3 ++- .../05_using-ardour-clock-displays.html | 8 ++++---- _manual/04_ardours-interface/06_meters.html | 12 ++++++------ .../02_creating-range-markers.html | 2 +- .../01_the-new-session-dialog/01_audio-setup.html | 4 +--- .../03_using-aatranslator.html | 2 +- .../01_layering-display.html | 6 +++--- .../01_track-ordering-and-remote-control-ids.html | 2 +- .../10_track-and-bus-groups.html | 4 ++-- .../11_working-with-plugins/06_getting-plugins.html | 1 + .../01_importing-versus-embedding.html | 4 ++-- .../01_how-to-add-tags-to-a-file.html | 2 +- .../02_searching-with-tags.html | 2 +- .../05_import-dialog.html | 2 +- _manual/13_recording/01_monitoring.html | 6 +++--- _manual/13_recording/02_track-recording-modes.html | 4 ++-- .../02_comparing-aux-sends-and-subgroups.html | 4 ++-- _manual/14_signal-routing/07_Patchbay.html | 2 +- .../03_what-regions-are-affected.html | 2 +- .../04_snap-to-the-grid.html | 4 +++- .../01_pushpull-trimming.html | 6 +++--- .../10_separation/01_separate-under.html | 4 ++-- .../11_strip-silence-from-audio-regions.html | 2 +- .../12_edit-midi/04_add-new-notes.html | 2 +- .../12_edit-midi/09_quantize-midi.html | 2 +- .../12_edit-midi/10_step-entry.html | 2 +- _manual/16_automation.html | 4 +--- 33 files changed, 64 insertions(+), 66 deletions(-) diff --git a/_manual/01_welcome-to-ardour/01_about-ardour/03_why-is-it-called-ardour.html b/_manual/01_welcome-to-ardour/01_about-ardour/03_why-is-it-called-ardour.html index 1126b6a..37e1f15 100644 --- a/_manual/01_welcome-to-ardour/01_about-ardour/03_why-is-it-called-ardour.html +++ b/_manual/01_welcome-to-ardour/01_about-ardour/03_why-is-it-called-ardour.html @@ -7,7 +7,7 @@ title: Why is it called Ardour?

The name "Ardour" came from considerations of how to pronounce the acronym HDR(Hard Disk Recorder). The most obvious attempt sounds like a vowelless "harder" and it then was then a short step to an unrelated by slightly homophonic word:

-

ardour “ n 1: a feeling of strong eagerness (usually in favor of a person or cause); "they were imbued with a revolutionary ardor"; "he felt a kind of religious zeal" [syn: ardor, elan, zeal] 2: intense feeling of love [syn: ardor] 3: feelings of great warmth and intensity; "he spoke with great ardor" [syn: ardor, fervor, fervour, fervency, fire, fervidness] ”

+

ardour “ n 1: a feeling of strong eagerness (usually in favor of a person or cause); "they were imbued with a revolutionary ardor"; "he felt a kind of religious zeal" [syn: ardor, elan, zeal] 2: intense feeling of love [syn: ardor] 3: feelings of great warmth and intensity; "he spoke with great ardor" [syn: ardor, fervor, fervour, fervency, fire, fervidness] ”

Given the work required to develop Ardour, and the personality of its primary author, the name seemed appropriate even without the vague relationship to HDR.

Years later, another interpretation of "Ardour" appeared, this time based on listening to non-native English speakers attempt to pronounce the word. Rather than "Ardour", it became "Our DAW", which seemed poetically fitting for a Digital Audio Workstation whose source code and design belongs to a group of collaborators.

diff --git a/_manual/02_introducing-ardour/02_understanding-basic-concepts-and-terminology.html b/_manual/02_introducing-ardour/02_understanding-basic-concepts-and-terminology.html index b57e797..0a3579d 100644 --- a/_manual/02_introducing-ardour/02_understanding-basic-concepts-and-terminology.html +++ b/_manual/02_introducing-ardour/02_understanding-basic-concepts-and-terminology.html @@ -20,12 +20,12 @@ title: Understanding Basic Concepts and Terminology

A track is a concept common to most DAWs, and also used in Ardour. Tracks can record audio or MIDI data to disk, and then replay it with processing. They also allow the audio or MIDI data to be edited in a variety of different ways.

In a typical pop production, one might use a track each for the kick drum, another for the snare, more perhaps for the drum overheads and others for bass, guitars and vocals.

Ardour can record to any number of tracks at one time, and then play those tracks back. On playback, a track's recordings may be processed by any number of plugins, panned, and its level altered to achieve a suitable mix.

-

A track's type is really only related to the type of data that it stores on disk. It is possible, for example, to have a MIDI track with a synthesizer plugin which converts MIDI to audio. Even though the track remains ‘MIDI’, in the sense that its on-disk recordings are MIDI, its output may be audio-only.

+

A track's type is really only related to the type of data that it stores on disk. It is possible, for example, to have a MIDI track with a synthesizer plugin which converts MIDI to audio. Even though the track remains ‘MIDI’, in the sense that its on-disk recordings are MIDI, its output may be audio-only.

More details can be found at Working With Tracks.

Busses

Busses are another common concept in both DAWs and hardware mixers. They are similar in many ways to tracks; they process audio or MIDI, and can run processing plugins. The only difference is that their input is obtained from other tracks or busses, rather than from disk.

-

One might typically use a bus to collect together the outputs of related tracks. Consider, for example, a 3-track recording of a drum-kit; given kick, snare and overhead tracks, it may be helpful to connect the output of each to a bus called ‘drums’, so that the drum-kit's level can be set as a unit, and processing (such as equalisation or compression) can be applied to the mix of all tracks.

+

One might typically use a bus to collect together the outputs of related tracks. Consider, for example, a 3-track recording of a drum-kit; given kick, snare and overhead tracks, it may be helpful to connect the output of each to a bus called ‘drums’, so that the drum-kit's level can be set as a unit, and processing (such as equalisation or compression) can be applied to the mix of all tracks.

Regions

A track may contain many segments of audio or MIDI. Ardour contains these segments in things called regions, which are self-contained snippets of audio or MIDI data. Any recording pass, for example, generates a region on each track that is enabled for recording. Regions can be subjected to many editing operations; they may be moved around, split, trimmed, copied, and so on.

@@ -40,7 +40,7 @@ title: Understanding Basic Concepts and Terminology
LADSPA
the first major plugin standard for Linux. Many LADSPA plugins are availble, mostly free and open-source.
LV2
-
the successor to LADSPA. Lots of plugins have been ‘ported’ from LADSPA to LV2, and also many new plugins written.
+
the successor to LADSPA. Lots of plugins have been ‘ported’ from LADSPA to LV2, and also many new plugins written.
VST
Ardour supports VST plugins that have been compiled for Linux.
AudioUnit (AU)
diff --git a/_manual/03_setting-up-your-system/08_platform-specifics/01_ubuntu-linux.html b/_manual/03_setting-up-your-system/08_platform-specifics/01_ubuntu-linux.html index 3cd226c..c983f15 100644 --- a/_manual/03_setting-up-your-system/08_platform-specifics/01_ubuntu-linux.html +++ b/_manual/03_setting-up-your-system/08_platform-specifics/01_ubuntu-linux.html @@ -135,9 +135,9 @@ title: Ubuntu Linux

Reporting Issues

-

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

+

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

Contact Information for Ubuntu Studio

The Ubuntu Studio Homepage

The Ubuntu Studio Forums.

Information on the Ubuntu Studio Mailing Lists.

-

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

+

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

diff --git a/_manual/04_ardours-interface.html b/_manual/04_ardours-interface.html index 31539cb..97632d0 100644 --- a/_manual/04_ardours-interface.html +++ b/_manual/04_ardours-interface.html @@ -7,9 +7,9 @@ title: Ardour's Interface

In Ardour, you work in two main windows: the Editor window and the Mixer window.

-

ardour's editor window

+

ardour's editor window

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.

-

ardour's mixer window

+

ardour's mixer window

The Mixer window on the other hand represents signal flow and is the window you will probably be using most when mixing a session. It includes elements called "channel strips" for each track and bus in your session. It has a general "vertical" sense to it: signals flow from the top of each channel strip through the processing elements in the strip to reach the output listed at the bottom.

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.

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 8f1f914..063e9a2 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 @@ -8,18 +8,16 @@ title: Starting Ardour From the Command Line

Starting Ardour on the command line (Linux)

Like (almost) any other program on Linux, Ardour can be started on the command line.

Other Command Line Options

-
-
-
-
diff --git a/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/02_region-list.html b/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/02_region-list.html index 59b9cd0..a270ca8 100644 --- a/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/02_region-list.html +++ b/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/02_region-list.html @@ -12,11 +12,11 @@ title: Region List
L
whether the region position is locked, so that it cannot be moved.
G
-
whether the region's position is ‘glued’ to bars and beats. If so, the region will stay at the same position in bars and beats even if the tempo and/or time signature change.
+
whether the region's position is ‘glued’ to bars and beats. If so, the region will stay at the same position in bars and beats even if the tempo and/or time signature change.
M
whether the region is muted, so that it will not be heard.
O
-
whether the region is opaque; opaque regions ‘block’ regions below them from being heard, whereas ‘transparent’ regions have their contents mixed with whatever is underneath.
+
whether the region is opaque; opaque regions ‘block’ regions below them from being heard, whereas ‘transparent’ regions have their contents mixed with whatever is underneath.

Hovering the mouse pointer over a column heading shows a tool-tip which can be handy to remember what the columns are for.

A handy feature of the region list is that its regions can be dragged and dropped into a suitable track in the session.

diff --git a/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/04_track--bus-group-list.html b/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/04_track--bus-group-list.html index f5cb6b5..12802af 100644 --- a/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/04_track--bus-group-list.html +++ b/_manual/04_ardours-interface/03_introducing-the-editor-window/01_editor-lists/04_track--bus-group-list.html @@ -6,7 +6,8 @@ title: Track & Bus Group List -

This shows the track/bus groups that exist in the session. These groups allow related tracks to share various properties (such as mute or record enable state). For full details, see the section called “Track and bus groups”.

+

This shows the track/bus groups that exist in the session. These groups allow related tracks to share various properties (such as mute or record enable state). For full details, see the section called +“Track and bus groups”.

The columns in this list are as follows:

Col
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 fa9f159..007b653 100644 --- a/_manual/04_ardours-interface/05_using-ardour-clock-displays.html +++ b/_manual/04_ardours-interface/05_using-ardour-clock-displays.html @@ -13,7 +13,7 @@ Clocks in Ardour are the basic way of displaying time values precisely. In many In the transport bar of the editor window there are two (or, if you are on a very small screen, just one) clocks that display both the current position of the playhead, and additional information related to transport control and the timeline. These are called the "transport clocks"; the leftmost one is the primary transport clock and the rightmost one is the secondary transport clock. They look like this:

-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.

@@ -22,7 +22,7 @@ Editing the time in the transport clocks will reposition the playhead in the sam Under the Windows item in the main menu you will find the "Big Clock" window, which also shows the playhead position in a big, fully resizable window. The big clock is very useful when you need to work away from the screen but still want to see the playhead position clearly (such as when working with a remote control device across, or in another, room). The big clock will also change its visual appearance to indicate when active recording is taking place. Below on the left is a screenshot showing a fairly large big clock window filling a good part of the display, and on the right, the same clock during active recording.

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

The Special Role of the Secondary Transport Clock

@@ -36,7 +36,7 @@ Having two transport clocks lets you see the playhead position in two different The transport bar also contains a set of 5 clocks that show the current selection range and punch ranges. Clicking on the punch range clocks will locate to either the beginning or end of the punch range. Similarly, clicking on the range clocks will locate to either the beginning or end of the current selection. In this screen shot there is no current selection range, so the selection clocks show an "off" state.

-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

Every clock in Ardour has four different modes it can be set to, each of which displays time using different units. You can change the clock mode by right-clicking on the clock and selecting the desired mode from the menu. Some clocks are entirely independent of any other clock's mode; others are linked so that changing one changes all clocks in that group. The different modes are:

@@ -64,7 +64,7 @@ Note that when set into this "Delta to Edit Point" mode, the transport clocks ca

New values for the clock can be typed from the keyboard after clicking on the relevant clock. Clicking on the clock will show a thin vertical cursor bar just to the right of the next character to be overwritten. Enter time in the same order as the current clock mode - if the clock is in Timecode mode, you need to enter hours, minutes, seconds, frames. So, to change to a time of 12:15:20:15 you would type 1 2 1 5 2 0 1 5. Each number you type will 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 the enter/return or tab key. To exit an edit without changing the clock press the escape key. If you mis-type an entry so that the new value would be illegal (for example, resulting in more than 30 frames when Timecode is set to 30 frames per second), the clock will reset at the end of the edit, and move the cursor back to the start so that you may begin again.

diff --git a/_manual/04_ardours-interface/06_meters.html b/_manual/04_ardours-interface/06_meters.html index cc8041d..7f8e583 100644 --- a/_manual/04_ardours-interface/06_meters.html +++ b/_manual/04_ardours-interface/06_meters.html @@ -110,7 +110,7 @@ Settings for the peak and rms+peak meters as well as VU meter standards are in

-

+

@@ -119,7 +119,7 @@ Depending the Edit > Preferences > GUI > Mixer Strip settings, the mete

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

@@ -136,8 +136,8 @@ The following figure shows all available meter-types in Ardour 3.4 when fed with

-

-

+ +

Due to layout concerns and consistent look&feel all meters available in Ardour3 itself are bar-graph type meters. @@ -145,5 +145,5 @@ Corresponding needle-style meters - which take up more visual screen space - are

-

-

+ +

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 7a8737f..4939806 100644 --- a/_manual/06_working-with-markers/02_creating-range-markers.html +++ b/_manual/06_working-with-markers/02_creating-range-markers.html @@ -8,6 +8,6 @@ title: Creating Range Markers

Rages are essentially two Location Markers the are grouped together to mark the beginning and end of a section in the timeline.

Creating a Range on the timeline

To create a Range on the timeline, right click on the Range Markers Ruler at the top of the Timeline then select New Range. Two markers with the same name will appear along the ruler. Both marks can be moved along the timeline by clicking and dragging them to the desired location. - +

Creating a Range from the Ranges & Marks List

diff --git a/_manual/07_working-with-sessions/01_the-new-session-dialog/01_audio-setup.html b/_manual/07_working-with-sessions/01_the-new-session-dialog/01_audio-setup.html index d76afcb..0f2e145 100644 --- a/_manual/07_working-with-sessions/01_the-new-session-dialog/01_audio-setup.html +++ b/_manual/07_working-with-sessions/01_the-new-session-dialog/01_audio-setup.html @@ -31,7 +31,6 @@ title: Audio Setup
Interface
-
The selector should show all availiable interfaces that driver provides that are duplex capable for Ardour to use. Important if you are using an Intel Mac @@ -39,8 +38,7 @@ title: Audio Setup first merge its separate input and output devices into a single "aggregate device" before - Ardour will be able to use it.
-
+ Ardour will be able to use it.
Sample Rate
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 cb60aae..3ad819c 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 @@ -9,5 +9,5 @@ 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 write Ardour 2.X sessions, and can read Ardour 3 sessions.

The program runs very well on Linux using Wine (a Windows environment for Linux). There are equivalent solutions for running Windows applications on OS X, but we have no experience with them at this time. Ardour users have reported great results using AATranslator on Ardour 2.X sessions.

The AATranslator website has full details on which formats/DAWs it supports, but they include ProTools, Live, Reaper, OMF, AAF and many more.

-

+

diff --git a/_manual/10_working-with-tracks/04_controlling-track-appearance/01_layering-display.html b/_manual/10_working-with-tracks/04_controlling-track-appearance/01_layering-display.html index be800a5..f5485ec 100644 --- a/_manual/10_working-with-tracks/04_controlling-track-appearance/01_layering-display.html +++ b/_manual/10_working-with-tracks/04_controlling-track-appearance/01_layering-display.html @@ -8,10 +8,10 @@ title: Layering Display

Ardour allows arbitrary layering of regions - you can stack as many regions you wish over a given position. By default, the editor windows overlaps the regions. The overlapping layers saves vertical space.

However, this display mode can be confusing for tracks with many overdubs, because its not always entirely clear how the overdubs are all layered with respect to each other. Although there are other methods of moving particular regions to the top of an overlapping set, and although Ardour also has playlists to let you manage takes a bit more efficiently than just continually overdubbing, there are times when being able to clearly see all regions in a track without any overlaps is reassuring and useful.

Here is an image of a track with a rather drastic overdub/overlap 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 this menu:

-

layer display menu

+

layer display menu

You will see that there are two choices for "Layers": overlaid (currently selected) and stacked. Click on stacked and the track display changes to this:

-

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 release the mouse button, things will flip back to them all being stacked cleaning. This display mode works best when you use sensible track heights. The number of "lanes" for the track is determined by the maximum number of regions existing in any one spot throughout the track, so if you have really stacked up 10 overdubs in one spot, you'll end up with 10 lanes. Obviously, using a large track height works much better for this than a small one.

diff --git a/_manual/10_working-with-tracks/05_controlling-track-ordering/01_track-ordering-and-remote-control-ids.html b/_manual/10_working-with-tracks/05_controlling-track-ordering/01_track-ordering-and-remote-control-ids.html index f255f07..266293f 100644 --- a/_manual/10_working-with-tracks/05_controlling-track-ordering/01_track-ordering-and-remote-control-ids.html +++ b/_manual/10_working-with-tracks/05_controlling-track-ordering/01_track-ordering-and-remote-control-ids.html @@ -14,7 +14,7 @@ title: Track Ordering and Remote Control IDs
Follow order of mixer
When enabled, remote control IDs will be reset to match the mixer window order, so that the leftmost track/bus has RID 1. Manual assignment of RIDs is not possible.
Assigned by user
-
When enabled, the remote control ID is completely independent of the ordering in either window, and RID's may be changed manually by the user.
+
When enabled, the remote control ID is completely independent of the ordering in either window, and RID's may be changed manually by the user.

 

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 4dbacb6..ab5362c 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 @@ -7,7 +7,7 @@ title: Track and Bus Groups

Tracks and busses can be put into groups. You can set members of a group can to share various settings - useful for managing tracks that are closely related to each other. Examples might include tracks that contain multiple-microphone recordings of a single source (an acoustic guitar, perhaps, or a drum-kit).

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 or remove tracks from a group.

Create New Groups

@@ -31,7 +31,7 @@ title: Track and Bus Groups

Modify Group Properties

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

-

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 not affect the color of the group members unless you also enable the shared Color property.

diff --git a/_manual/11_working-with-plugins/06_getting-plugins.html b/_manual/11_working-with-plugins/06_getting-plugins.html index 965395a..af2eda2 100644 --- a/_manual/11_working-with-plugins/06_getting-plugins.html +++ b/_manual/11_working-with-plugins/06_getting-plugins.html @@ -74,6 +74,7 @@ The following list shows plugin packages. In some cases, a package cont
  • Calf http://calf.sourceforge.net/
  • LinuxDSP http://www.linuxdsp.co.uk +

    • Linux VST (LXVST)

    diff --git a/_manual/12_adding-pre-existing-material/01_importing-versus-embedding.html b/_manual/12_adding-pre-existing-material/01_importing-versus-embedding.html index 3e36bc3..941e0f3 100644 --- a/_manual/12_adding-pre-existing-material/01_importing-versus-embedding.html +++ b/_manual/12_adding-pre-existing-material/01_importing-versus-embedding.html @@ -14,7 +14,7 @@ title: Importing versus Embedding

    Embedding

    An existing media file is used as a the source for a region, but is not copied or modified in any way.

    You can choose to import or embed the files in your session selecting or de-selecting the "Copy file to session" option in the Import dialog window.

    -

    the file will be imported in the audio/MIDI folder of your session

    -

    the file won't be copied.

    +

    the file will be imported in the audio/MIDI folder of your session

    +

    the file won't be copied.

    If it doesn't work you can uncheck Preferences > Misc > Session Management > Always copy imported files.

    diff --git a/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/01_how-to-add-tags-to-a-file.html b/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/01_how-to-add-tags-to-a-file.html index f4b1404..7aa2816 100644 --- a/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/01_how-to-add-tags-to-a-file.html +++ b/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/01_how-to-add-tags-to-a-file.html @@ -15,6 +15,6 @@ title: How To Add Tags To a File
  • Type in new/extra tags in the Tags section of the Soundfile Information box
    • -

    +

    Tags are stored when the input box loses focus, there is no reason to explicitly "save" them.

    diff --git a/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/02_searching-with-tags.html b/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/02_searching-with-tags.html index 911567c..31def53 100644 --- a/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/02_searching-with-tags.html +++ b/_manual/12_adding-pre-existing-material/03_searching-for-files-using-tags/02_searching-with-tags.html @@ -14,6 +14,6 @@ title: Searching With Tags
  • Enter the tag(s) you want to search for and press "Search"
    • -

    +

    Files which have been "tagged" with the input terms will appear in the results window. You can audition these files and apply tags to them from this window.

    diff --git a/_manual/12_adding-pre-existing-material/05_import-dialog.html b/_manual/12_adding-pre-existing-material/05_import-dialog.html index 09f8893..24b66cf 100644 --- a/_manual/12_adding-pre-existing-material/05_import-dialog.html +++ b/_manual/12_adding-pre-existing-material/05_import-dialog.html @@ -6,7 +6,7 @@ title: Import Dialog -

    +

    The Soundfile Information Box

    Previewing Files Before Import

    Importing Files as Tracks or Regions

    diff --git a/_manual/13_recording/01_monitoring.html b/_manual/13_recording/01_monitoring.html index 71d5e59..fc7fe19 100644 --- a/_manual/13_recording/01_monitoring.html +++ b/_manual/13_recording/01_monitoring.html @@ -16,15 +16,15 @@ title: Monitoring

    External Monitoring

    With this approach, Ardour plays no role in monitoring at all. Perhaps the recording set-up has an external mixer which can be used to set up monitor mixes, or perhaps the sound-card being used has some ‘listen to the input’-style feature. This approach often has the advantage of zero or near-zero latency. On the other hand it requires external hardware, and the monitoring settings are not saved with the session.

    -

    +

    JACK-Based Hardware Monitoring

    Some sound cards have the ability to mix signals from their inputs to their outputs with zero- or low-latency. Furthermore, on some cards these features can be controlled by 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 this approach all monitoring is performed by Ardour; it makes track inputs available at track outputs, under the influence of various controls. This approach will almost always have more routing flexibility than JACK-based monitoring. The disadvantage is that there will be a latency between the input and the output. The size of the latency depends largely on the JACK buffer size that is being used.

    -

    +

    Set up Monitoring

    There are three main settings which affect how monitoring is performed. The first is Edit > Preferences > Audio > Record monitoring handled by. There are two or three options here, depending on the capabilities of your hardware:

    diff --git a/_manual/13_recording/02_track-recording-modes.html b/_manual/13_recording/02_track-recording-modes.html index be62dc4..41e4492 100644 --- a/_manual/13_recording/02_track-recording-modes.html +++ b/_manual/13_recording/02_track-recording-modes.html @@ -15,10 +15,10 @@ title: Track Recording Modes
    overdubs write to new audio files, new regions are created but if they overlap with existing regions, the existing regions are trimmed so that there no overlaps

    To change the recording mode of a track, right click on its track header to get the context menu:

    -

    track header context menu

    +

    track header context menu

    Below is a screenshot that shows the subtly different results of an overdub in normal and non-layered mode. Both tracks were created using identical audio data.

    The upper track is in normal mode, and the overdub (the middle shorter region, selected) has created a new region which if you look carefully has been layered on top of the the existing (longer) region.

    The lower track is in non-layered mode, and rather than overlay the overdub region, it split the existing region and inserted the new one in between.

    -

    different results from normal and non-layered recording

    +

    different results from normal and non-layered recording

    Non-layered mode is extremely useful when combined with push/pull trimming.

    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 f300a61..41a8b66 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 @@ -10,7 +10,7 @@ title: Comparing Aux Sends and Subgroups

    Subgroups remove the original signal routing to the main mix, but create a new one that delivers the output of the subgroup bus to the main mix instead.

    The following two diagrams compares the signal flow when using subgroups and when using aux sends:

    Subgroup signal routing

    -

    +

    sub group signal routing

    Aux send signal routing

    -

    +

    aux signal routing

    diff --git a/_manual/14_signal-routing/07_Patchbay.html b/_manual/14_signal-routing/07_Patchbay.html index afef05b..b59e45b 100644 --- a/_manual/14_signal-routing/07_Patchbay.html +++ b/_manual/14_signal-routing/07_Patchbay.html @@ -9,7 +9,7 @@ title: Patchbay

    Notable exceptions are aux sends and connections to the monitor bus (if you are using one): these cannot be controlled from a patchbay, and are basically not under manual control at all.

    -

    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.

    Both sources and destinations are divided up into groups, with each group being given a tab. Click on the appropriate tab to show the ports in each group (‘Ardour Busses’, ‘Ardour Tracks’ and so on).

    The groups that are used are as follows:

    diff --git a/_manual/15_editing-and-arranging/03_what-regions-are-affected.html b/_manual/15_editing-and-arranging/03_what-regions-are-affected.html index 007ab2b..21af5cd 100644 --- a/_manual/15_editing-and-arranging/03_what-regions-are-affected.html +++ b/_manual/15_editing-and-arranging/03_what-regions-are-affected.html @@ -19,7 +19,7 @@ title: What Regions Are Affected?
  • For all other edit points -