while fromFile.readline().startswith('---') == False:
pass
- shutil.copyfileobj(fromFile, implode)
+# shutil.copyfileobj(fromFile, implode)
+ # Strip trailing newlines from content...
+ tempContent = fromFile.read().rstrip('\r\n')
+ implode.write(tempContent + '\n')
fromFile.close()
delList.append(inclFile)
The term <dfn>context-click</dfn> is used to indicate
that you should (typically) <kbd class="mouse">Right</kbd>-click on a particular element of the graphical
user interface. Although right-click is the common, default way to do this, there
- are other ways to accomplish the same thing - this term refers to any of them,
+ are other ways to accomplish the same thing—this term refers to any of them,
and the result is always that a menu specific to the item you clicked on will be
displayed.
</p>
<h3>Menu Items</h3>
<p>
- Menu items are indicated like this:<br />
- <kbd class="menu">Top > Next > Deeper</kbd>.<br />
+ Menu items are indicated like this:<br>
+ <kbd class="menu">Top > Next > Deeper</kbd>.<br>
Each ">"-separated item indicates one level of a nested (sub-)menu.
</p>
<h3>Preference/Dialog Options</h3>
<p>
Choices in various dialogs, notably the Preferences and Properties dialog, are
- indicated like this:<br />
+ indicated like this:<br>
<kbd class="option">Edit > Preferences > Audio > Some
- Option</kbd>.<br />
+ Option</kbd>.<br>
Each successive item indicates either a (sub-) menu or a tabbed dialog
navigation. The final item is the one to choose or select.
</p>
<p>
If you are requested to deselect an option, you will see something like
- this:<br />
+ this:<br>
<kbd class="optoff">Edit > Preferences > Audio > Some other
- Option</kbd>.<br />
+ Option</kbd>.<br>
</p>
<h3>User Input</h3>
quality, or eat your proverbial goldfish, are displayed in this way.
</p>
-
</figure>
<p>
- The Editor and the Mixer share the same toolbar (the top of the window). The sections displayed
- in this toolbar can be customized to the user's workflow, by checking options in
- <kbd class="menu">Preferences > Appearance > Toolbar</kbd>.
+ The Editor and the Mixer share the same toolbar (the top of the window). The sections displayed in this toolbar can be customized to the user's workflow, by checking options in <kbd class="menu">Preferences > Appearance > Toolbar</kbd>.
</p>
<p>
- Switching between the Editor and the Mixer windows is done :
+ Switching between the Editor and the Mixer windows is done:
</p>
<ul>
<li>with the <a href="/ardours-interface/status-indicators/#mode_selector">Mode Selector buttons</a> in the upper right</li>
window where editing and arranging a project is done. 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 <dfn>time</dfn>
+ from left to right—the window really represents <dfn>time</dfn>
in a fairly literal way.
</p>
<p>
To learn more about the process of mixing, see <a href="/mixing/">Mixing<a>.
</p>
+<<<<<<< HEAD
{% children %}
+=======
+>>>>>>> Initial cleanup of manual content.
<a href="/working-with-midi/step-entry/">a step entry editor</a>
allowing you to enter notes from a virtual keyboard and lots more besides.
</p>
-
and dropping a file from some other application (e.g. your platform's
file manager). You can drag onto the
<dfn>Region List</dfn>, into the desired <dfn>track</dfn> or into empty
- space in the editor track display.<br />
+ space in the editor track display.<br>
The file will be imported and copied
into your session, and placed at the position where the drag ended.
</p>
-{% children %}
-
<img class="right" src="/images/add-track-or-bus.png" alt="the add-track dialog" />
<p>A track, bus or VCA can be added to a session in various ways:</p>
<ul>
- <li>Choose <kbd class="menu">Track > Add Track, Bus or VCA...</kbd>.</li>
+ <li>Choose <kbd class="menu">Track > Add Track, Bus or VCA…</kbd>.</li>
<li><kbd class="mouse">Right</kbd>-click in an empty part of the track controls area.</li>
<li>Click the <kbd class="menu">Plus (+)</kbd> button underneath the list of tracks in the mixer.</li>
</ul>
<dd>Here you can select the number of tracks, busses or VCAs you wish to create, and
their <a href="/working-with-tracks/track-types/">types</a>.</dd>
<dt>Name</dt>
- <dd>Defines the name of the new track(s). If multiple tracks are created, or if a track with the same name already exists, a space and number will be happened at the end (e.g. : Audio 1, Audio 2...)</dd>
+ <dd>Defines the name of the new track(s). If multiple tracks are created, or if a track with the same name already exists, a space and number will be happened at the end (e.g.: Audio 1, Audio 2…)</dd>
<dt>Configuration</dt>
<dd>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. The most common choices here are <em>mono</em> and <em>stereo</em>.</dd>
<dt>Record mode</dt>
use this option with care!
</p>
-
<p>
The <dfn>IRC channels</dfn> in particular are where most of the day-to-day
development and debugging is done, and there are plenty of experienced
- users to help you if you run into problems.<br />
+ users to help you if you run into problems.<br>
Please be prepared to hang around for a few hours, the chat is usually
busiest from 19:00 UTC to 04:00 UTC. If you can, keep your chat
window open, so that you don't miss a belated answer.
<p>
- Aligning regions (sometimes called "spotting") means moving one or more
- regions based on a defined location, which in Ardour is always the
- <a href="/ardours-interface/the-edit-point-control/">edit point</a>. An
- alignment operation moves the region(s) so that some part of the region
- is positioned at the edit point. Available alignment commands include:
+ Aligning regions (sometimes called "spotting") means moving one or more regions based on a defined location, which in Ardour is always the <a href="/ardours-interface/the-edit-point-control/">edit point</a>. An alignment operation moves the region(s) so that some part of the region is positioned at the edit point. Available alignment commands include:
</p>
+
<dl class="wide-table">
<dt>Align Region starts <kbd class="mod14">a</kbd></dt>
<dd>Selected region(s) are moved so that their start is located at the current edit point</dd>
<p>
- The table bellow details what will be seen on the meter and heard on the monitor according to Ardour's settings.
+ The table below details what will be seen on the meter and heard on the monitor according to Ardour's settings.
</p>
<table class="alternate">
<p class="fixme">Add content</p>
-
-
<p class="fixme">Add content</p>
-
-
A typical control area or <dfn>track header</dfn> for an audio track is
shown below:
</p>
-<img src="/images/typical-audio-track-controls.png" alt="audio track controls"
- />
+
+<img src="/images/typical-audio-track-controls.png" alt="audio track controls" />
+
<p>
An audio track has the same
<a href="/working-with-tracks/bus-controls/">controls as a bus</a>, with the
addition of two extras.
</p>
+
<dl>
<dt id="record" style="color:red;font-weight:bold;">[•]</dt>
- <dd><dfn>Record</dfn> — The button with the pink circle arms the track
+ <dd><dfn>Record</dfn>—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.</dd>
<dt id="playlist">p</dt>
- <dd><dfn>Playlist</dfn> — Opens a playlist menu when clicked. The menu
+ <dd><dfn>Playlist</dfn>—Opens a playlist menu when clicked. The menu
offers various operations related to the track's <a
href="/working-with-playlists/">playlist</a>.
</dd>
</dl>
-
Its use is to "group" some audio signals to be treated the same way. One simple use case is to group all the audio tracks containing the different drums of a drumkit. Routing all the drums tracks outputs to a bus allows, once the different levels amongst the drums have been set, to adjust the global level of the drumkit in the mix.
</p>
<p>
- Bus usage goes way beyond this simple example though : busses, as tracks, can receive plugins for common audio treatment, and be routed themselves as needed. This makes for a very useful tool that is very commonly used both for musical purposes and computing ones : instead of using e.g. 10 discrete delay plugins on 10 different tracks, busses are often used as receivers of <a href="/signal-routing/aux-sends/">sends</a>, and only 1 delay plugin is used on this bus, reducing the processing power needed.
+ Bus usage goes way beyond this simple example though: busses, as tracks, can receive plugins for common audio treatment, and be routed themselves as needed. This makes for a very useful tool that is very commonly used both for musical purposes and computing ones: instead of using e.g. ten discrete delay plugins on ten different tracks, busses are often used as receivers of <a href="/signal-routing/aux-sends/">sends</a>, and only one delay plugin is used on this bus, reducing the processing power needed.
</p>
<h2>Audio Busses vs MIDI Busses</h3>
<p>
- Ardour supports 2 types of busses : Audio and MIDI. A MIDI bus differs from an audio bus just by:
+ Ardour supports 2 types of busses: Audio and MIDI. A MIDI bus differs from an audio bus just by:
<p>
<ul>
<li>its input (which is midi, as shown by the red signal lines in the processor box) instead of <em>n</em> audio</li>
<h2>Description</h2>
<p>
Busses look and behave exactly like tracks, so they share nearly <a href="/ardours-interface/audio-midi-mixer-strips/">all of their controls</a>.
- The differences are :
+ The differences are:
</p>
<ul>
<li>as the busses dont have a playlist (and cannot host any media), they can't be recorded on. The recording controls are not present</li>
<h2>Connecting a track to a bus</h2>
<p>
- Depending on the user's workflow and the way busses are used, 2 possibilities exists :
+ Depending on the user's workflow and the way busses are used, 2 possibilities exists:
</p>
<h3>Connecting a track to a bus via its outputs</h3>
Connecting the output(s) of a track to the input(s) of the bus sends <em>all</em> the audio/MIDI to the bus. In the mixer strip, select (at the bottom) the OUTPUT button (often, by default, "Master"), and in the list, choose the input of a bus. Note that only the bus able to receive this output will show up, e.g. a mono bus wont be able to be connected to the output of a stereo track).
</p>
<p>
- Obviously, doing so will (by default) disconnect the output from the Master's input, which means all the audio/MIDI will be routed to the bus. For more complex routing, the OUTPUT button allows to show the <kbd class="menu">Routing Grid</kbd> that allows to plug the output of the track to multiple outputs at once, be it busses, tracks, Master... The button will then reflect these multiple connections by showing a <em>*number*</em>, number being the number of connections made in the routing grid.
+ Obviously, doing so will (by default) disconnect the output from the Master's input, which means all the audio/MIDI will be routed to the bus. For more complex routing, the OUTPUT button allows to show the <kbd class="menu">Routing Grid</kbd> that allows to plug the output of the track to multiple outputs at once, be it busses, tracks, Master… The button will then reflect these multiple connections by showing a <em>*number*</em>, number being the number of connections made in the routing grid.
</p>
<h3>Connecting a track to a bus via Sends</h3>
<img class="left" src="/images/connecting_bus_send.png" alt="Connecting a bus through a send">
<p>
- This allows not to interrupt the natural flow of the signal, i.e. the track will still output to what its connected to (e.g. Master). The signal is "tapped" at the point of insertion of the send, to be sent to the bus. Right click where in the signal flow you want the send to happen, and select <kdb class="menu">New Aux Send... > name_of_the_bus</kbd>.
+ This allows not to interrupt the natural flow of the signal, i.e. the track will still output to what its connected to (e.g. Master). The signal is "tapped" at the point of insertion of the send, to be sent to the bus. Right click where in the signal flow you want the send to happen, and select <kdb class="menu">New Aux Send… > name_of_the_bus</kbd>.
</p>
<p>
By <kbd class="mouse">left-clicking</kbd> the send meter, it is possible to adjust the amount of signal sent to the bus. This is often the way tracks are connected to an effect bus, like a Delay bus.
<img class="right" src="/images/mixer-1-strip-numbered.png" alt="A mixer strip">
<p>
- A <dfn>mixer strip</dfn> in Ardour is a vertical view of the track, from a mixing point of view.
- This view is convenient to deal with I/O, effects, panning/muting, gain, etc... It has a general
- "top to bottom" flow.
+ A <dfn>mixer strip</dfn> in Ardour is a vertical view of the track, from a mixing point of view. This view is convenient to deal with I/O, effects, panning/muting, gain, etc… It has a general "top to bottom" flow.
</p>
+
<p>
- The mixer strips breaks down into :
+ The mixer strips breaks down into:
</p>
+
<ol>
<li>Header</li>
<li>Track name</li>
<li>Comments</li>
</ol>
-
<h2>Headers</h2>
<p>
- At the top of the window, is the <a href="/working-with-tracks/track-and-bus-groups/">group tabs</a> (here, <em>recm...</em>).
- This allows to group tracks together for common controls.
+ At the top of the window, is the <a href="/working-with-tracks/track-and-bus-groups/">group tabs</a> (here, <em>recm…</em>). This allows to group tracks together for common controls.
</p>
+
<p>
- Bellow are 3 buttons :
+ Bellow are 3 buttons:
</p>
+
<ul>
<li>
- The double arrow button allows to shrink/expand the width of the strip. <kbd
- class="mod1"></kbd><kbd class="mod3"></kbd><kbd class="mouse">Click</kbd> the button will shrink/expand all
- the tracks at once
+ The double arrow button allows to shrink/expand the width of the strip. <kbd class="mod1"></kbd><kbd class="mod3"></kbd><kbd class="mouse">Click</kbd> the button will shrink/expand all the tracks at once
</li>
<li>
The color bar shows the color of the track in the editor
</li>
<li>
- The <kbd class="menu">X</kbd> button toggles the visibility of the track OFF. To turn it back ON,
- one can either go to the <a href="/ardours-interface/editor-lists/tracks-and-busses-list/">Tracks and Busses list</a>
- in the Editor view and check the "V" column on the track's line or stay in the Mixer view
- and check the <kbd class="menu">Show</kbd> column of this strip in the
- <a href="/ardours-interface/the-strips-list/">Strips list</a>.
+ The <kbd class="menu">X</kbd> button toggles the visibility of the track OFF. To turn it back ON, one can either go to the <a href="/ardours-interface/editor-lists/tracks-and-busses-list/">Tracks and Busses list</a> in the Editor view and check the "V" column on the track's line or stay in the Mixer view and check the <kbd class="menu">Show</kbd> column of this strip in the <a href="/ardours-interface/the-strips-list/">Strips list</a>.
</li>
</ul>
+
<p>
<kbd class="mouse">Right</kbd> clicking on the color bar will bring up a context menu, which is exactly the same as clicking on the Track name button.
</p>
<h2>Track Name</h2>
<p>
- Clicking the Track name button will bring up a menu :
+ Clicking the Track name button will bring up a menu:
</p>
+
<dl>
- <dt>Color...</dt><dd>Changes the strip/track color</dd>
- <dt>Comments...</dt><dd>Shows an editor to put comments about the track, see bellow the Comments button</dd>
- <dt>Inputs...</dt><dd>Shows the Routing grid for the inputs of the track</dd>
- <dt>Outputs...</dt><dd>Shows the Routing grid for the outputs of the track</dd>
- <dt>Save As Template...</dt><dd>Allows to save the track without its media content (I/O, effects,...) for later reuse</dd>
- <dt>Rename...</dt><dd>Changes the name of the track (effective both in the Mixer and the Editor)</dd>
+ <dt>Color…</dt><dd>Changes the strip/track color</dd>
+ <dt>Comments…</dt><dd>Shows an editor to put comments about the track, see below the Comments button</dd>
+ <dt>Inputs…</dt><dd>Shows the Routing grid for the inputs of the track</dd>
+ <dt>Outputs…</dt><dd>Shows the Routing grid for the outputs of the track</dd>
+ <dt>Save As Template…</dt><dd>Allows to save the track without its media content (I/O, effects,…) for later reuse</dd>
+ <dt>Rename…</dt><dd>Changes the name of the track (effective both in the Mixer and the Editor)</dd>
<dt><kbd class="option"></kbd>Active</dt><dd>Select the active status of the track. An inactive track won't output any sound</dd>
<dt><kbd class="option"></kbd>Strict I/O</dt><dd>While in <a href="/signal-routing/signal-flow/">Strict I/O</a> mode, a track <em>always</em> has as many output as it has inputs, regardless of the effects. When disabled, a stereo effect put on a mono track will result in a stereo output for the strip.</dd>
- <dt>Pin Connections...</dt><dd>Shows the <kbd class="menu">Pin Configuration</kbd> window, that shows (and allows to modify) all the signal flows inside the track</dd>
- <dt>Adjust Latency...</dt><dd>Shows the <kbd class="menu">Track Latency</kbd> dialog, that allows fine-tune the latency to the track, in samples, msec or period</dd>
+ <dt>Pin Connections…</dt><dd>Shows the <kbd class="menu">Pin Configuration</kbd> window, that shows (and allows to modify) all the signal flows inside the track</dd>
+ <dt>Adjust Latency…</dt><dd>Shows the <kbd class="menu">Track Latency</kbd> dialog, that allows fine-tune the latency to the track, in samples, msec or period</dd>
<dt><kbd class="option"></kbd>Protect Against Denormals</dt><dd>Uses a trick to get rid of <em>denormals</em>, which are very small numbers the CPU can have a hard time dealing with. To be used if the CPU consumption for plugins is noticeably higher than expected</dd>
- <dt>Duplicate...</dt><dd>Copies the track to a new one, optionnaly with its playlist</dd>
+ <dt>Duplicate…</dt><dd>Copies the track to a new one, optionnaly with its playlist</dd>
<dt>Remove</dt><dd>Deletes the track and its playlist</dd>
</dl>
<h2>Inputs</h2>
<p>
- The dropdown button shows the current input port(s), i.e. what's plugged to the "in" of the track.
- By default, each audio track is connected to the system inputs, ready for recording,
- as shown by the number(s).
- Clicking the dropdown Inputs button will allow to change the inputs, through a menu:
+ The dropdown button shows the current input port(s), i.e. what's plugged to the "in" of the track. By default, each audio track is connected to the system inputs, ready for recording, as shown by the number(s). Clicking the dropdown Inputs button will allow to change the inputs, through a menu:
</p>
+
<dl>
<dt>Disconnect</dt><dd>Disconnects everything, i.e. the track has no input</dd>
<dt>In <em>n</em></dt><dd>Those are the system inputs, e.g. to record from the soundcard. A mono track will have <em>In 1</em> and <em>In 2</em> separated, while a stereo track can have <em>In 1+2</em></dd>
- <dt><em>Track n output</em></dt><dd>All the outputs of compatible tracks, e.g., a mono track can only receive a mono signal, a MIDI track can only receive MIDI signal, ...</dd>
+ <dt><em>Track n output</em></dt><dd>All the outputs of compatible tracks, e.g., a mono track can only receive a mono signal, a MIDI track can only receive MIDI signal, …</dd>
<dt>Add Audio Port</dt><dd>Adds an audio input to the track, i.e. a mono audio track becomes a stero one</dd>
<dt>Add MIDI Port</dt><dd>Adds a MIDI input to the track. Adding it to an audio track makes it a mixed Audio/MIDI track. This can be usefull e.g. to feed some plugins with a MIDI signal to control the audio, like a vocoder</dd>
<dt>Routing Grid</dt><dd>Shows the <a href="/signal-routing/Patchbay/"><kbd class="menu">Routing Grid</kbd> window</a>, which allows for more complex input configuration</dd>
</dl>
+
<p>
- The <kbd class="menu">Routing Grid</kbd> can also be shown by right clicking the dropdown Inputs button.
- It allows to make the connections through a matrix, and connect things that are not listed in the menu above,
- or connect to multiple sources at once, reduce the number of inputs, etc...
+ The <kbd class="menu">Routing Grid</kbd> can also be shown by right clicking the dropdown Inputs button. It allows to make the connections through a matrix, and connect things that are not listed in the menu above, or connect to multiple sources at once, reduce the number of inputs, etc…
</p>
+
<p>
- On audio tracks, is a Trim knob, as on traditional consoles.
- It set the base input level for the track, avoiding any clipping. Notice that it
- trims both any input, but (when playing back), also the level of the playlist as
- displayed in the Editor. It makes sense as while playing, the input of the track is
- the playlist, on which the mixer strip acts.
+ On audio tracks, is a Trim knob, as on traditional consoles. It set the base input level for the track, avoiding any clipping. Notice that it trims both any input, but (when playing back), also the level of the playlist as displayed in the Editor. It makes sense as while playing, the input of the track is the playlist, on which the mixer strip acts.
</p>
+
<p>
- On midi tracks, it is replaced by a MIDI Input button, that allows/disallows
- MIDI input on the track.
+ On midi tracks, it is replaced by a MIDI Input button, that allows/disallows MIDI input on the track.
</p>
-
<h2>Polarity</h2>
<p>
- On audio tracks only, the Polarity button(s), 1 per input, allow to reverse
- the signal, i.e. a negative value will be positive and vice-versa. This can
- help deal with phasing issues.
+ On audio tracks only, the Polarity button(s), 1 per input, allow to reverse the signal, i.e. a negative value will be positive and vice-versa. This can help deal with phasing issues.
</p>
<h2>Processor box</h2>
<p>
- The processor box is where the effects are added. By default, one effect is always
- present : the Fader (see bellow). The effects can be added <em>pre</em>-fader and appear in brown,
- or <em>post</em>-fader, where they will appear in dark green. The signal flow is represented by lines,
- red for the MIDI and green for the audio.
+ The processor box is where the effects are added. By default, one effect is always present: the Fader (see below). The effects can be added <em>pre</em>-fader and appear in brown, or <em>post</em>-fader, where they will appear in dark green. The signal flow is represented by lines, red for the MIDI and green for the audio.
</p>
+
<p>
It is also where the <a href="/signal-routing/aux-sends/">Sends</a> come from, wether external or auxiliary.
</p>
+
<p>
To learn more about the processor box, see <a href="/working-with-plugins/processor-box/">The Processor Box</a>.
</p>
<h2>Panner</h2>
<p>
- The <dfn>Panner</dfn> visually displays how the sound will be distributed between the different outputs.
- They'll look and behave differently if the track is mono, stereo, or has multiple channels.
+ The <dfn>Panner</dfn> visually displays how the sound will be distributed between the different outputs. They'll look and behave differently if the track is mono, stereo, or has multiple channels.
</p>
+
<p>
Right clicking the Panner will show a menu:
</p>
+
<dl>
<dt><kbd class="option"></kbd>Bypass</dt><dd>When checked, the panner is grayed, and the signal is not affected by it</dd>
<dt>Reset</dt><dd>Resets the panner to its default settings, e.g. for a mono signal, it is centered</dd>
- <dt>Edit...</dt><dd>Shows a <kbd class="menu">Panner</kbd> dialog, which allows for fine tuning of the panner</dd>
+ <dt>Edit…</dt><dd>Shows a <kbd class="menu">Panner</kbd> dialog, which allows for fine tuning of the panner</dd>
</dl>
+
<p>
- See <a href="/mixing/panning/">Panning</a> to learn more about how to control the panner,
- and what kind of panners are available inside Ardour.
+ See <a href="/mixing/panning/">Panning</a> to learn more about how to control the panner, and what kind of panners are available inside Ardour.
</p>
<h2>Recording options</h2>
<p>
- The most noticeable button here is the Record Enable one, with a red circle. When
- enabled, next time the Global record will be armed and playback started, everything that
- comes from the input of the track will be recorded. Right clicking a disabled record
- button allows to enable <kbd class="menu">Rec-Safe</kbd>, thus protecting the track
- against accidental recording.
+ The most noticeable button here is the Record Enable one, with a red circle. When enabled, next time the Global record will be armed and playback started, everything that comes from the input of the track will be recorded. Right clicking a disabled record button allows to enable <kbd class="menu">Rec-Safe</kbd>, thus protecting the track against accidental recording.
</p>
+
<p>
- The buttons on the right, <kbd class="menu">In</kbd> and <kbd class="menu">Disk</kbd>,
- show what the user is listening to by lighting up, between the <em>In</em>put and the
- actual content of the playlist on <em>Disk</em>.
+ The buttons on the right, <kbd class="menu">In</kbd> and <kbd class="menu">Disk</kbd>, show what the user is listening to by lighting up, between the <em>In</em>put and the actual content of the playlist on <em>Disk</em>.
</p>
+
<p>
- They also allow to override the automatic switching by pressing them to lock one
- source or the other to be what the user is hearing.
+ They also allow to override the automatic switching by pressing them to lock one source or the other to be what the user is hearing.
</p>
<h2>Mute/Solo</h2>
<p>
- These buttons allow to Mute (or silence) the track, or Solo them, shutting down the
- gain of the other tracks (totally by default, can be set to partially in the options).
- See <a href="/mixing/muting-and-soloing/">Muting and Soloing</a>
- for more information.
+ These buttons allow to Mute (or silence) the track, or Solo them, shutting down the gain of the other tracks (totally by default, can be set to partially in the options). See <a href="/mixing/muting-and-soloing/">Muting and Soloing</a> for more information.
</p>
+
<p>
- Notice that by default, Solo overrides Mute, i.e. if a track is both Soloed and Muted, it will
- play. That can be changed in the preferences.
+ Notice that by default, Solo overrides Mute, i.e. if a track is both Soloed and Muted, it will play. That can be changed in the preferences.
</p>
+
<p>
- The two led button above are related to solo :
+ The two led button above are related to solo:
</p>
+
<ul>
<li>Solo Isolate, as the name suggests, isolates tracks or busses from the solo system. When tracks or busses are soloed the isolated ones will not mute.</li>
<li>Solo Lock locks the solo into its current state (ie solo on or solo off). It will not allow the solo state to be changed until the lock is released.</li>
<h2>Gain & Meter</h2>
<p>
- On the right of this part is a <a href="/meters/">Meter</a>, displaying the level of the track's
- output after the fader. In can be set to display the signal at any point, see below <em>Metering Point</em>.
- Right clicking this meter shows a menu allowing to switch the meter type.
+ On the right of this part is a <a href="/meters/">Meter</a>, displaying the level of the track's output after the fader. In can be set to display the signal at any point, see below <em>Metering Point</em>. Right clicking this meter shows a menu allowing to switch the meter type.
</p>
+
<p>
- The big Gain slider on the left allows to change the gain of the track. Its default O dB
- value is reminded with a white horizontal line, and its precise value is shown
- in a text field above it, that doubles as a way to type in a numeric value.
+ The big Gain slider on the left allows to change the gain of the track. Its default O dB value is reminded with a white horizontal line, and its precise value is shown in a text field above it, that doubles as a way to type in a numeric value.
</p>
+
<p>
- The text field above the meter shows the "Peak", i.e. the mawimum value that has been
- reached during playback. To avoid distortion, the value should stay bellow O dB, and
- if it goes above this value, the text field will turn red. Clicking on this field
- will reset the Peak value (for a new measurement or a new part of the track).
+ The text field above the meter shows the "Peak", i.e. the mawimum value that has been reached during playback. To avoid distortion, the value should stay below O dB, and if it goes above this value, the text field will turn red. Clicking on this field will reset the Peak value (for a new measurement or a new part of the track).
</p>
<p class="note">
- Notice that if any gain automation has been set and the automation state is set on "Play"
- (see below), then the Gain fader is driven by the automation, and not by the user. The Gain fader will
- turn grey to show it's inactive.
+ Notice that if any gain automation has been set and the automation state is set on "Play" (see below), then the Gain fader is driven by the automation, and not by the user. The Gain fader will turn grey to show it's inactive.
</p>
<h2>Control master</h2>
<p>
- If at least one control master exists, this button will show up, allowing the user
- to link this track to any control master.
+ If at least one control master exists, this button will show up, allowing the user to link this track to any control master.
</p>
+
<p>
- Clicking the button lists all the available control masters, and a menu option to
- <kbd class="menu">Unassign all</kbd>. Notice that a track can have be a slave to as many
- control masters as they are in the session, hence multiplying the number of C.M. buttons.
- The displayed number is the number of the Control Master, not the count of C.M. linked
- to the track. A track with no control master assigned will show a unique button with a
- "<kbd class="menu">-vca-</kbd>" label instead of this number.
+ Clicking the button lists all the available control masters, and a menu option to <kbd class="menu">Unassign all</kbd>. Notice that a track can have be a slave to as many control masters as they are in the session, hence multiplying the number of C.M. buttons. The displayed number is the number of the Control Master, not the count of C.M. linked to the track. A track with no control master assigned will show a unique button with a "<kbd class="menu">-vca-</kbd>" label instead of this number.
</p>
<h2>Fader automation/mix group/metering point</h2>
<h3>Fader automation mode</h3>
+
<p>
- This button allows to choose the mode used regarding automation:
+ This button allows to choose the mode used regarding automation:
</p>
+
<dl>
<dt>Manual</dt><dd><em>(default)</em> The playback won't use the fader automation data</dd>
<dt>Play</dt><dd>Enables playback/use of fader automation data</dd>
</dl>
<h3>Mix group</h3>
+
<p>
- This button displays the mix group information as does the tab in the header (see above).
- It is convenient though, as it allows to quickly switch the track from one
- group to another with a drop down menu, also allowing to affect the track to
- a non-adjascent group (which the tab won't easily allow).
+ This button displays the mix group information as does the tab in the header (see above). It is convenient though, as it allows to quickly switch the track from one group to another with a drop down menu, also allowing to affect the track to a non-adjascent group (which the tab won't easily allow).
</p>
<h3>Metering Point</h3>
+
<p>
- The metering displayed in the meter is by default is 'Post', i.e. Post fader.
- It can be changed with this button to Any point of the signal flow :
+ The metering displayed in the meter is by default is 'Post', i.e. Post fader. It can be changed with this button to Any point of the signal flow:
</p>
+
<dl>
<dt>In</dt><dd>The input of the track</dd>
<dt>Pre</dt><dd>Pre-fader</dd>
<h2>Output(s)</h2>
<p>
- This button is exactly the same as the <em>Input</em> button, but applies to the <em>output</em>
- of the track.
+ This button is exactly the same as the <em>Input</em> button, but applies to the <em>output</em> of the track.
</p>
-
<h2>Comments</h2>
<p>
- This buttons open up a little text editor, that can be used to add some written notes to the track,
- as e.g. a particular setting. The button's caption is replaced by the beginning of the text, so
- it can be used as a "sub"name for the track.
+ This buttons open up a little text editor, that can be used to add some written notes to the track, as e.g. a particular setting. The button's caption is replaced by the beginning of the text, so it can be used as a "sub" name for the track.
</p>
<p>Adding pitch bending or aftertouch can add a lot of subtlety to an otherwise plain sounding midi region and help humanize it.</p>
-<img src="/images/MIDI_pitch_bending.png" alt="Automation : pitch bending" />
+<img src="/images/MIDI_pitch_bending.png" alt="Automation: pitch bending" />
<p>Pitch bending and aftertouch both work the same way, through automation. Right click the MIDI track's header > Automation > Bender <em>(or Pressure)</em> > <em>choose the channel you want to bend</em>.</p>
<p class="fixme">Add content</p>
-
-
<dfn>Post-fader</dfn> 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. <dfn>Pre-fader</dfn> sends ensure that the level sent to the bus
- is controlled <em>only</em> by the send, not the main fader — this is typical
+ is controlled <em>only</em> by the send, not the main fader—this is typical
when constructing headphone and monitor wedge mixes.
</p>
panner, or to follow it. The latter could be useful for Reverb effects, or
for in-ear monitor mixes delivered in stereo.
</p>
-
<p>
- An Ardour session is stored in a single folder on your computer's filesystem.
- This makes <dfn>backup</dfn> very easy — any tool capable of backing up
- a folder can be used to backup a session. You pick the location of a session
- when it is created — by default it will be in your default session location,
- which can be altered via <kbd class="menu">Edit > Preferences > Misc > Session
- Management</kbd>.
+ An Ardour session is stored in a single folder on your computer's filesystem. This makes <dfn>backup</dfn> very easy—any tool capable of backing up a folder can be used to backup a session. You pick the location of a session when it is created—by default it will be in your default session location, which can be altered via <kbd class="menu">Edit > Preferences > Misc > Session Management</kbd>.
</p>
+
<p class="warning">
- There is one complication: a session may reference media files that are stored
- outside of the session folder, if the user has opted not to select <kbd
- class="optoff">Session > Import > Copy to Session</kbd> during
- import. Backing up a session with embedded files will not create a
- copy of the session containing those files.
+ There is one complication: a session may reference media files that are stored outside of the session folder, if the user has opted not to select <kbd class="optoff">Session > Import > Copy to Session</kbd> during import. Backing up a session with embedded files will not create a copy of the session containing those files.
</p>
+
<p>
- The single folder approach also makes sharing a project easy. Simply copy the session
- folder (onto a storage device, or across a network) and another Ardour user (on any
- platform) will be able to use it. The limitation regarding embedded files applies to
- session sharing as well.
+ The single folder approach also makes sharing a project easy. Simply copy the session folder (onto a storage device, or across a network) and another Ardour user (on any platform) will be able to use it. The limitation regarding embedded files applies to session sharing as well.
</p>
-
text</dfn>, <dfn>making selections</dfn>, and <dfn>using shortcuts</dfn>.
</p>
-{% children %}
-
<dt>First row of buttons</dt>
<dd>FIX ME</dd>
<dt>Second row of buttons</dt>
- <dd>These now control setting up different <dfn>Views</dfn>. See bellow for more info</dd>
+ <dd>These now control setting up different <dfn>Views</dfn>. See below for more info</dd>
<dt>Faders</dt>
<dd>No Change</dd>
<dt>Shift Group</dt>
<p>
FIX ME
</p>
+
</p>
<dl>
<dt id="mute">M</dt>
- <dd><dfn>Mute</dfn> — click to mute the bus. Right-click to display
+ <dd><dfn>Mute</dfn>—click to mute the bus. Right-click to display
a menu which dictates what particular parts of the bus should be muted.</dd>
<dt id="solo">S</dt>
- <dd><dfn>Solo</dfn> — solo the bus. The behaviour of the solo system
+ <dd><dfn>Solo</dfn>—solo the bus. The behaviour of the solo system
is described in detail in the section <a
href="/mixing/muting-and-soloing/">Muting and Soloing</a>.</dd>
<dt id="automation">A</dt>
- <dd><dfn>Automation</dfn> — opens the automation menu for the
+ <dd><dfn>Automation</dfn>—opens the automation menu for the
bus. For details see <a href="/automation/">Automation</a>.</dd>
<dt id="group">G</dt>
- <dd><dfn>Group</dfn> — lets you assign the bus to an existing or a
+ <dd><dfn>Group</dfn>—lets you assign the bus to an existing or a
new group. For details see <a href="/working-with-tracks/track-and-bus-groups/">Track and bus groups</a>. </dd>
</dl>
-
</dd>
<dt>Changing pitch values</dt>
<dd>
- <kbd>↑</kbd> increases the pitch of the selected notes.<br />
- <kbd>↓</kbd> reduces the pitch of the selected notes.<br />
+ <kbd>↑</kbd> increases the pitch of the selected notes.<br>
+ <kbd>↓</kbd> reduces the pitch of the selected notes.<br>
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 <kbd class="mod2"> </kbd>. The default shift
<kbd class="mod1">↑</kbd> increases the velocity of the selected notes.
<br/>
<kbd class="mod1">↓</kbd> reduces the velocity of the selected
- notes.<br />
+ notes.<br>
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 <kbd class="mod2"> </kbd>.
</dd>
<dt>Changing start/end/duration</dt>
<dd>
- <kbd>,</kbd> (comma) will alter the start time of the note. <br />
+ <kbd>,</kbd> (comma) will alter the start time of the note. <br>
<kbd>.</kbd> (period) will alter the end time of the note. Both keys will by
default make the note longer (either by moving the start earlier or the end
later). For the opposite effect, use <kbd class="mod1">,</kbd>/<kbd
-<p>Recording and editing any serious session might leave the session with some
- unused or misplaced files here and there. Ardour can help deal with this clutter thanks
- to the tools located in the <kbd class="menu">Session > Clean-up</kbd> menu.
+<p>
+ Recording and editing any serious session might leave the session with some unused or misplaced files here and there. Ardour can help deal with this clutter thanks to the tools located in the <kbd class="menu">Session > Clean-up</kbd> menu.
</p>
<h2 id="bring_all_media_into_session_folder">Bring all media into session folder</h2>
-<p>When <a href="/adding-pre-existing-material/">importing media files</a>, if
- the <kbd class="option">Copy files to session</kbd> hasn't been checked, Ardour uses
- the source file from its original destination, which can help avoiding file duplication.
- Nevertheless, when the session needs to be archived or transfered to another computer, moving
- the session folder won't move those <em>external</em> files as they are not in the folder, as seen
- in <a href="/working-with-sessions/backup-and-sharing-of-sessions/">Backup and sharing of sessions</a>.
+<p>
+ When <a href="/adding-pre-existing-material/">importing media files</a>, if the <kbd class="option">Copy files to session</kbd> hasn't been checked, Ardour uses the source file from its original destination, which can help avoiding file duplication. Nevertheless, when the session needs to be archived or transfered to another computer, moving the session folder won't move those <em>external</em> files as they are not in the folder, as seen in <a href="/working-with-sessions/backup-and-sharing-of-sessions/">Backup and sharing of sessions</a>.
</p>
-<p>Using the <kbd class="menu">Bring all media into session folder</kbd> menu ensures
- that all media files used in the session are located inside the session's folder, hence avoiding
- any missing files when copied.
+<p>
+ Using the <kbd class="menu">Bring all media into session folder</kbd> menu ensures that all media files used in the session are located inside the session's folder, hence avoiding any missing files when copied.
</p>
<h2 id="reset_peak_files">Reset Peak Files</h2>
-<p>Ardour represents audio waveforms with peak files, that are graphical images generated from the
- sound files. This generation can be time and CPU consuming, so it uses a cache of the generated
- images to speed up the display process. To watch for files modification, Ardour relies on the file-modification
- time. If an external file is embedded in the session and that file changes, but the system-clock is skewed
- or it is stored on an external USB disk (VFAT), Ardour can't know the change happend, and will still use its
- deprecated peak files.
+<p>
+ Ardour represents audio waveforms with peak files, that are graphical images generated from the sound files. This generation can be time and CPU consuming, so it uses a cache of the generated images to speed up the display process. To watch for files modification, Ardour relies on the file-modification time. If an external file is embedded in the session and that file changes, but the system-clock is skewed or it is stored on an external USB disk (VFAT), Ardour can't know the change happend, and will still use its deprecated peak files.
</p>
-<p>Using the <kbd class="menu">Reset Peak Files</kbd> menu allows to reset this cache, which frees up disk space,
- and forces the re-creation of the peak files used in the session. It can prove useful if some waveforms
- are not used anymore, or if a graphical or time glitch happens.
+<p>
+ Using the <kbd class="menu">Reset Peak Files</kbd> menu allows to reset this cache, which frees up disk space, and forces the re-creation of the peak files used in the session. It can prove useful if some waveforms are not used anymore, or if a graphical or time glitch happens.
</p>
-<h2 id="clean_up_unused_sources">Clean-up Unused Sources...</h2>
+<h2 id="clean_up_unused_sources">Clean-up Unused Sources…</h2>
-<p>Recording usually lefts a lot of unused takes behind, be it in midi or audio form, that can clutter
- the Region List, and eat up a lot of hard drive space. While its generally a good practice to keep as
- many things as possible while recording, when transferring or archiving the session, some clean up can
- help a lot in reducing the sessions clutter and size.
+<p>
+ Recording usually lefts a lot of unused takes behind, be it in midi or audio form, that can clutter the Region List, and eat up a lot of hard drive space. While its generally a good practice to keep as many things as possible while recording, when transferring or archiving the session, some clean up can help a lot in reducing the sessions clutter and size.
<p>
-<p>Selecting <kbd class="menu">Clean-up Unused Sources...</kbd> will force Ardour to detect those unused waveforms
- by looking for unused regions, and (through a prompt) for unused playlists. The media files won't be destroyed, though.
- At this stage, they are just copied in a particular place of the session path (namely, in the <code>dead sounds/</code>
- sub-folder).
+<p>
+ Selecting <kbd class="menu">Clean-up Unused Sources…</kbd> will force Ardour to detect those unused waveforms by looking for unused regions, and (through a prompt) for unused playlists. The media files won't be destroyed, though. At this stage, they are just copied in a particular place of the session path (namely, in the <code>dead sounds/</code> sub-folder).
</p>
<h2 id="flush_wastebasket">Flush Wastebasket</h2>
-<p>Although Ardour is a <em>non-destructive</em> audio-editor, it allows for a very careful destruction of unused media materials.
- This function is closely linked to the previous one. When the unused sources have been cleaned up and quarantined, the
- <kbd class="menu">Flush Wastebasket</kbd> menu will allow for their physical destruction.
+<p>
+ Although Ardour is a <em>non-destructive</em> audio-editor, it allows for a very careful destruction of unused media materials. This function is closely linked to the previous one. When the unused sources have been cleaned up and quarantined, the <kbd class="menu">Flush Wastebasket</kbd> menu will allow for their physical destruction.
</p>
-<p>As a safeguarding mechanism though, Flushing the wastebasket in impossible in the same working session as the Cleaning up of unused sources :
- the user needs to close the session and reload it before flushing. It allows to test the playback of the session and ensure both that Ardour didn't commit
- any mistake (unlikely, but better safe than sorry), and that the user is absolutely sure of what he does.
+<p>
+ As a safeguarding mechanism though, Flushing the wastebasket in impossible in the same working session as the Cleaning up of unused sources: the user needs to close the session and reload it before flushing. It allows to test the playback of the session and ensure both that Ardour didn't commit any mistake (unlikely, but better safe than sorry), and that the user is absolutely sure of what he does.
</p>
-<p class="warning">Notice that all media destroyed this way is not sent to the system's <em>trash can</em> but permanently deleted.
- If a file is mistakenly destroyed this way, the user will have to rely on data recovery techniques to try getting it back.
+<p class="warning">
+ Notice that all media destroyed this way is not sent to the system's <em>trash can</em> but permanently deleted. If a file is mistakenly destroyed this way, the user will have to rely on data recovery techniques to try getting it back.
</p>
-
<p>
- 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.
</p>
the main mix instead.
</p>
<img width="300px" src="/images/subgroup_routes.png" alt="sub group signal routing" />
-
-
-
-
-
+<p class=fixme>Add content</p>
<h2>Description of the Control Masters</h2>
<p>
-A Control Master strip is made of (from top to bottom in the screenshot) :
+A Control Master strip is made of (from top to bottom in the screenshot):
</p>
<ol>
<li><kbd class="menu">~vca~</kbd>: a VCA button to optionally connect to another VCA</li>
</ol>
-<p>Right-clicking the name button shows a context menus comprised of :</p>
+<p>Right-clicking the name button shows a context menus comprised of:</p>
<dl>
<dt>Rename</dt><dd>Renames the VCA</dd>
- <dt>Color...</dt><dd>Changes the color of the VCA button in the tracks connected to this one</dd>
+ <dt>Color…</dt><dd>Changes the color of the VCA button in the tracks connected to this one</dd>
<dt>Drop All Slaves</dt><dd>Deletes all connections to this VCA, i.e. no tracks are controlled by this VCA anymore</dd>
<dt>Remove</dt><dd>Deletes this VCA</dd>
</dl>
work with all these control surfaces.
</p>
-{% children %}
-
play, stop, and almost any other function (such as Edit, or Undo).
</p>
-{% children %}
-
Editor</kbd> menu.
</p>
-{% children %}
-
torn off into a separate window.
</p>
-{% children %}
-
exact position on the timeline as the originals, simply use
<kbd class="mouse mod1">Middle</kbd>-drag instead.
</p>
-
all into a project/session. You will lose all information about regions,
tracks, and timeline positioning, but all the data that Ardour was working
with will be present in the other DAW. Nothing below the interchange
- folder is specific to Ardour — any DAW or other audio/MIDI
+ folder is specific to Ardour—any DAW or other audio/MIDI
application should be able to handle the files without any issues.
</p>
-
<h2>Copying</h2>
<p>
An existing media file is copied to the session's audio folder, and
- if necessary converted into the session's native format.<br />
+ if necessary converted into the session's native format.<br>
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
Session Management > Always copy imported files</kbd>. If it is
enabled, you will not be able to link a file.
</p>
-
<dfn>overlap</dfn>. This is much more flexible and will cover almost all of the
cases that the fixed rules above might make cumbersome.
</p>
-
Once you have created a region, you will probably want to
<a href="/working-with-midi/add-new-notes/">Add some notes to it</a>.
</p>
-
will show you a list of all plugins that you have which accept MIDI input and
generate audio output.
</p>
-
<p>The different types of fades are:<br>
</p>
<ul>
- <li><kbd class="menu">Linear</kbd> : A simple linear coefficient decrease, and its
+ <li><kbd class="menu">Linear</kbd>: 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.<br>
</li>
- <li><kbd class="menu">Constant Power</kbd> : The constant power curve starts fading
+ <li><kbd class="menu">Constant Power</kbd>: 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.<br>
</li>
- <li><kbd class="menu">Symmetric</kbd> : The Symmetric fade starts slowly, then
+ <li><kbd class="menu">Symmetric</kbd>: 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
sometimes useful when editing 2 entire music works together so that the
transition is more gradual.<br>
</li>
- <li><kbd class="menu">Fast</kbd> : The Fast curve is a linear decibel fade; It sounds
+ <li><kbd class="menu">Fast</kbd>: 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.</li>
- <li><kbd class="menu">Slow</kbd> : The Slow curve is a modified linear decibel fade.
+ <li><kbd class="menu">Slow</kbd>: 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
+
<p>
Ardour can be used in many different ways, from extremely simple to
extremely complex. Many projects will be handled using the following
<dfn>MIDI recordings</dfn> consist of performance data ("play note X at
time T") rather than actual sound. As a result, they are more flexible
than actual audio, since the precise sound that they will generate when
- played depends on where you send the MIDI to.<br />
+ played depends on where you send the MIDI to.<br>
Two different synthesizers may produce very different sound in response
to the same incoming MIDI data.
</p>
are arranged into horizontal lanes called <dfn>tracks</dfn>. Tracks are
stacked vertically in the Editor window. You can copy, shorten, move,
and delete regions without changing the actual data stored in the session
- at all — Ardour is a <dfn>non-destructive</dfn> editor. (Almost)
+ at all—Ardour is a <dfn>non-destructive</dfn> editor. (Almost)
nothing that you do while editing will ever modify the files stored on
disk (except the session file itself).
</p>
</p>
<p>
Ardour will allow you to <dfn>automate</dfn> changes to any mixing
- parameters (such as volume, panning, and effects controls) - it will
+ parameters (such as volume, panning, and effects controls)—it will
record the changes you make over time, using a mouse or keyboard or some
external control device, and can play back those changes later. This is
very useful because often the settings you need will vary in one part of
- a session compared to another — rather than using a single setting
+ a session compared to another—rather than using a single setting
for the volume, you may need increases followed by decreases (for example,
to track the changing volume of a singer). Using automation can make all
of this relatively simple.
system. Ardour will allow you to export as much of a session as you want, at
any time, in any supported format.
</p>
-
region in the Editor window, or to use the <kbd class="menu">Ranges
& Marks List</kbd> in the Editor list.
</p>
-
<h2>Cut</h2>
<p>
A <dfn>cut</dfn> operation removes selected objects and places them in the
- clipboard. The existing contents of the clipboard are overwriten.<br />
+ clipboard. The existing contents of the clipboard are overwriten.<br>
The default key binding is <kbd class="mod1">x</kbd>.
</p>
<p>
A <dfn>copy</dfn> of the selected objects are placed in clipboard. There is
no effect on the selected objects themselves. The existing contents of the
- clipboard are overwritten. <br />
+ clipboard are overwritten. <br>
The default key binding is <kbd class="mod1">c</kbd>.
</p>
<p>
The current contents of the clipboard are <dfn>paste</dfn>d (inserted)
into the session, using the current <dfn>edit point</dfn> as the
- destination. The contents of the clipboard remain unchanged — you
- can paste the same item multiple times. <br />
+ destination. The contents of the clipboard remain unchanged—you
+ can paste the same item multiple times. <br>
The default key binding is <kbd class="mod1">v</kbd>.
</p>
-
functions.
</p>
-<p>These bindings strive to be <dfn>mnemonic</dfn>, 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
- available. This does not necessarily lead to the best ergonomics for
- rapid editing — there are alternative binding sets for that —
- but it does make it simpler for newcomers to remember some of the most
- useful ones, for example<br />
+<p>
+ These bindings strive to be <dfn>mnemonic</dfn>, 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 available. This does not necessarily lead to the best ergonomics for rapid editing—there are alternative binding sets for that—but it does make it simpler for newcomers to remember some of the most useful ones, for example<br>
<kbd>S</kbd> for <kbd class="menu">Region > Edit > Split"</kbd>
- or<br />
+ or<br>
<kbd>P</kbd> for <kbd class="menu">Transport > Playhead > Playhead to Mouse</kbd>.
</p>
provide different default bindings for each.
</p>
-
-{% children %}
-
<p>
The modifier and mouse button used for this can be controlled via
<kbd class="menu">Edit > Preferences > User Interaction >
- Delete using ...</kbd>. Any modifier and mouse button combination can
+ Delete using …</kbd>. Any modifier and mouse button combination can
be used.
</p>
-
<h2>Devices using ipMIDI</h2>
<p>
If you are using a device that uses ipMIDI, such as the SSL Nucleus, no
- MIDI port connections are required — Ardour and your control
+ MIDI port connections are required—Ardour and your control
surface will be able to talk to each other automatically so long as
your control surface and computer are both connected to the same network.
</p>
time.
</li>
<li>
- By default, copying a MIDI region creates a <dfn>deep link</dfn>
- — both regions share the same data source, and edits to the contents of
+ By default, copying a MIDI region creates a <dfn>deep link</dfn>—both
+ regions share the same data source, and edits to the contents of
one will affect the other. To break this link, select
<kbd class="menu">MIDI > Unlink from other copies</kbd> from the region
context menu, after which the selected region(s) will have their own copies
</li>
</ul>
-{% children %}
-
-
-
<img class="left" src="/images/toolbar-editpoint.png" alt="Editor toolbar's Edit Point">
-
-
<p>
-
- Editing operations in a Digital Audio Workstation like Ardour can be broken
-
- down according to how many points on the timeline are required to carry the
-
- operation out. Splitting a region for example, requires just one position
-
- on the timeline (the one where the split will happen). Cutting out a time
-
- range requires two positions, one for the start of the cut and one for the end.
-
+ Editing operations in a Digital Audio Workstation like Ardour can be broken down according to how many points on the timeline are required to carry the operation out. Splitting a region for example, requires just one position on the timeline (the one where the split will happen). Cutting out a time range requires two positions, one for the start of the cut and one for the end.
</p>
-
-
<p>
-
- In Ardour the <dfn>edit point</dfn> is the location where most single-point
-
- editing operations take place. It can be set to either of the following:
-
+ In Ardour the <dfn>edit point</dfn> is the location where most single-point editing operations take place. It can be set to either of the following:
</p>
-
-
<ul>
-
<li>the <dfn>Playhead</dfn> position</li>
-
<li>the selected (or "active") <dfn>Marker</dfn></li>
-
<li>the position of the <dfn>Mouse</dfn> (or touch) pointer</li>
-
</ul>
-
-
<p>
-
The default edit point is the location of the pointer.
-
</p>
-
-
<p>
-
- There are 2 keybindings available to cycle through the edit point options.
-
- The most common workflow tends to involve switching back and forth between
-
- the playhead and mouse as the edit point. Press the grave accent key
-
- <kbd>`</kbd> to switch between these two. Use <kbd class="mod1">`</kbd> to
-
- cycle through all three choices (including the selected marker). You can
-
- also switch the edit point using a combo-selector just right of the snap/grid
-
- unit selector.
-
+ There are 2 keybindings available to cycle through the edit point options. The most common workflow tends to involve switching back and forth between the playhead and mouse as the edit point. Press the grave accent key <kbd>`</kbd> to switch between these two. Use <kbd class="mod1">`</kbd> to cycle through all three choices (including the selected marker). You can also switch the edit point using a combo-selector just right of the snap/grid unit selector.
</p>
vary the width of the list.
</p>
-{% children %}
-
<p>
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. <kbd class="menu">Session > Export > Export to Audio file(s)...</kbd>
+file to burn to a CD, upload to the web, or whatever. <kbd class="menu">Session > Export > Export to Audio file(s)…</kbd>
shows the Export Dialog to do this.
</p>
<p>
You can also export the outputs of multiple tracks & busses all at once via
-<kbd class="menu">Session > Export > Stem Export...</kbd>.
+<kbd class="menu">Session > Export > Stem Export…</kbd>.
</p>
<h2>File Format</h2>
<img src="/images/export-dialog-timespan.png" />
<p>
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.
+enabled—this will export the whole session from the start marker to the end marker.
</p>
case.
</p>
-{% children %}
-
-
-
<p>
Any part of the command-line enclosed in double-quotes (") will be used as-is.
-{% children %}
-
Like a normal aux send, an <dfn>external send</dfn> 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.
</p>
<p>
redisplay the patchbay dialog that allows you full control over the routing
of the send.
</p>
-
When favorites are added with the <a href="@@plugin-manager">Plugin Manager</a>, they are appended to the bottom of the list.
</p>
-
<p class="fixme">Add content</p>
-
-
A track/bus binding has one of two basic structures
</p>
<code>
- <Binding <em>msg specification</em> uri="<em>... control address ...</em>"/>
- <Binding <em>msg specification</em> function="<em>... function name ...</em>"/>
+ <Binding <em>msg specification</em> uri="<em>… control address …</em>"/>
+ <Binding <em>msg specification</em> function="<em>… function name …</em>"/>
</code>
<h4>Message specifications</h4>
like this:
</p>
<code>
- <Binding channel="1" ctl="13" ....
+ <Binding channel="1" ctl="13" ….
</code>
<p>
This defines a binding for a MIDI Continuous Controller message involving
You can also bind sysex messages:
</p>
<code>
- <Binding sysex="f0 0 0 e 9 0 5b f7" ....
- <Binding sysex="f0 7f 0 6 7 f7" ....
+ <Binding sysex="f0 0 0 e 9 0 5b f7" ….
+ <Binding sysex="f0 7f 0 6 7 f7" ….
</code>
<p>
The string after the <code>sysex=</code> part is the sequence of MIDI bytes,
<p>
Finally, you can bind a totally arbitrary MIDI message:</p>
<code>
- <Binding msg="f0 0 0 e 9 0 5b f7" ....
- <Binding msg="80 60 40" ....
+ <Binding msg="f0 0 0 e 9 0 5b f7" ….
+ <Binding msg="80 60 40" ….
</code>
<p>
The string after the <code>msg=</code> part is the sequence of MIDI bytes, as
<p>
One additional feature: for solo and mute bindings, you can also add
<code>momentary="yes"</code> after the control address. This is useful
- primarily for NoteOn bindings — when Ardour gets the NoteOn it
+ primarily for NoteOn bindings—when Ardour gets the NoteOn it
will solo or mute the targetted track or bus, but then when a NoteOff
arrives, it will un-solo or un-mute it.
</p>
for far fewer tracks & busses than many users want to control,
Ardour offers the relatively common place concept of <dfn>banks</dfn>. Banks
allow you to control any number of tracks and/or busses easily,
- regardless of how many faders/knobs etc. your control surface has.<br />
+ regardless of how many faders/knobs etc. your control surface has.<br>
To use banking, the control addresses must be specified using the
<dfn>bank relative</dfn> format mentioned above ("B1" to identify
the first track of a bank of tracks, rather than "1" to identify
(the channel range may change at some point).
</p>
-{% children %}
-
implementation of that protocol as it is likely more feature complete.
</p>
-{% children %}
-
<img src="/images/a4_preferences_misc.png" alt="ardour preferences
dialog"/>
-
-{% children %}
-
-
<img class="left" src="/images/toolbar-grid.png" alt="Editor toolbar's grid">
-
-
<p>
-
- Ardour's editor utilizes a <dfn>grid</dfn> to assist in the placement
-
- of regions on the timeline, or with editing functions that need to happen
-
- at a specific point in time. You can choose if you want the cursor and
-
- 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.
-
+ Ardour's editor utilizes a <dfn>grid</dfn> to assist in the placement of regions on the timeline, or with editing functions that need to happen at a specific point in time. You can choose if you want the cursor and 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.
</p>
-
-
<h2>About Snapping</h2>
+<p>
+ 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 to grid lines. In Ardour, this is called <dfn>absolute snap</dfn> and is commonly used when working with sampled material where audio begins exactly at the beginning of a file, note or region.
+</p>
+<p>
+ The second, <dfn>relative snap</dfn>, is used when an object's position relative to the grid lines is important. In music, this allows you to move objects around without changing the "feel" (or timing) of a performance.
+</p>
-<p>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
-
- to grid lines. In Ardour, this is called <dfn>absolute snap</dfn>
-
- and is commonly used when working with sampled material where audio
-
- begins exactly at the beginning of a file, note or region.</br>
-
- The second, <dfn>relative snap</dfn>, is used when an object's position
-
- relative to the grid lines is important. In music, this allows you to
-
- move objects around without changing the "feel" (or timing) of a performance.</br>
-
- Absolute snap is the default method of snapping in Ardour.</br>
-
- While dragging objects you may switch from absolute to relative snap by
-
- pressing the absolute snap modifier key(s).</br>
-
- You may also disable snap entirely by using the snap modifier (see below).</br>
-
- Note that in relative snap mode the reference point is taken to be the distance
-
- to the nearest grid line.</br>
-
- Note also that when an object lies exactly on a grid line, there will be no difference
-
- between relative and absolute snap modes.</br>
-
- The realtive snap and snap modifiers (along with other modifier keys) may be set in
+<p>
+ Absolute snap is the default method of snapping in Ardour.
+</p>
- <kbd class="menu">Edit > Preferences > User Interaction</kbd></br>
+<p>
+ While dragging objects you may switch from absolute to relative snap by pressing the absolute snap modifier key(s).
+</p>
- For common use patterns, it is recommended that you assign a unique key for
+<p>
+ You may also disable snap entirely by using the snap modifier (see below).
+</p>
- one snap modifier and two keys for the other in such a way that they share an otherwise unused key.
+<p>
+ Note that in relative snap mode the reference point is taken to be the distance to the nearest grid line.
+</p>
- For example, you may choose the snap modifier to be the <kbd class="mod2"> </kbd> key and the
+<p>
+ Note also that when an object lies exactly on a grid line, there will be no difference between relative and absolute snap modes.
+</p>
- relative snap modifier to be the <kbd class="mod2"> </kbd> and <kbd class="mod4"> </kbd> keys.
+<p>
+ The realtive snap and snap modifiers (along with other modifier keys) may be set in <kbd class="menu">Edit > Preferences > User Interaction</kbd>
+</p>
+<p>
+ For common use patterns, it is recommended that you assign a unique key for one snap modifier and two keys for the other in such a way that they share an otherwise unused key. For example, you may choose the snap modifier to be the <kbd class="mod2"> </kbd> key and the relative snap modifier to be the <kbd class="mod2"> </kbd> and <kbd class="mod4"> </kbd> keys.
</p>.
-
-
<h2>Snap Modes</h2>
<p>
-
Using the above modifications, Ardour supports three different modes of snapping to the grid:
-
</p>
-
-
<dl class="wide-table">
-
<dt><kbd class="menu">No Grid</kbd></dt>
-
<dd>disables the grid. All objects move freely in this mode.</br>
-
- In <kbd class="menu">No Grid</kbd> mode, you may temporarily activate the grid by pressing the
-
- snap modifier (for absolute snap) or switch to relative snap by pressing the relative snap modifier.</dd>
-
+ In <kbd class="menu">No Grid</kbd> mode, you may temporarily activate the grid by pressing the snap modifier (for absolute snap) or switch to relative snap by pressing the relative snap modifier.</dd>
<dt><kbd class="menu">Grid</kbd></dt>
-
- <dd>activates normal snapping. All positions of objects snap to
-
- the grid. (See <a href="#gridunits">Grid Units</a> below
-
- 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.</br>
-
- 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.</br>
-
+ <dd>activates normal snapping. All positions of objects snap to the grid. (See <a href="#gridunits">Grid Units</a> below 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.</br>
+ 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.</br>
New objects will always be created at grid points.</br>
-
Holding down the snap modifier will disable the current grid setting and allow you to move the object freely.</br>
-
</dd>
-
<dt><kbd class="menu">Magnetic</kbd></dt>
-
- <dd>is a less strict type of snapping. Objects can still be moved to any
-
- position, but positions close to the relative or absolute grid points will snap.
-
- In order to move an object very close to a snap point, it may be necessary
-
- to zoom in to prevent snapping to that point, or to use the snap modifier to disable snap completely.</br>
-
- As with Grid mode, the snap modifier will disable snap completely while the
-
- absolute snap modifier will move the "notch" of Magnetic snap to the grid lines.</dd>
-
+ <dd>is a less strict type of snapping. Objects can still be moved to any position, but positions close to the relative or absolute grid points will snap. In order to move an object very close to a snap point, it may be necessary to zoom in to prevent snapping to that point, or to use the snap modifier to disable snap completely.</br>
+ As with Grid mode, the snap modifier will disable snap completely while the absolute snap modifier will move the "notch" of Magnetic snap to the grid lines.</dd>
</dl>
-
-
<h2>Syncing Regions to the Grid</h2>
<p>
-
- By default, a region's beginning will be used as the reference for both types of snapping,
-
- but you can change this behaviour by setting a <dfn>sync point</dfn> in
-
- the region. Select the region(s) and press <kbd>V</kbd>. This will set
-
- the sync point to your edit point.</p>
-
-
+ By default, a region's beginning will be used as the reference for both types of snapping, but you can change this behaviour by setting a <dfn>sync point</dfn> in the region. Select the region(s) and press <kbd>V</kbd>. This will set the sync point to your edit point.
+</p>
<h2 id="gridunits">Grid Units</h2>
<p>
-
- The selector next to the grid mode selector defines the size of the grid
-
- elements. You can set your grid to several different units:
-
+ The selector next to the grid mode selector defines the size of the grid elements. You can set your grid to several different units:
</p>
<dl class="wide-table">
-
<dt><kbd class="menu">CD Frames</kbd></dt>
-
- <dd>A CD Frame is 1/75th of a second. Snapping to CD Frames (using absolute snap) can be used to avoid issues with CD track
-
- lengths.</dd>
-
+ <dd>A CD Frame is 1/75th of a second. Snapping to CD Frames (using absolute snap) can be used to avoid issues with CD track lengths.</dd>
<dt><kbd class="menu">Timecode Frames/Seconds/Minutes</kbd></dt>
-
- <dd>The duration of a frame depends on the timecode settings for the
-
- session.</dd>
-
+ <dd>The duration of a frame depends on the timecode settings for the session.</dd>
<dt><kbd class="menu">Seconds/Minutes</kbd></dt>
-
<dd>These are absolute time units, unaffected by sample rate or timecode settings</dd>
-
<dt><kbd class="menu">Beats/N</kbd></dt>
-
<dd>Set the grid to units of 1/N beats, where N can be 128, 64, 32, 16, 8, 7, 6, 5, 4, 3, 2. The duration of a grid unit will depend on the tempo and meter in effect at that point in the timeline.</dd>
-
<dt><kbd class="menu">Beats</kbd></dt>
-
<dd>Set the grid to whole beats. The duration of a grid unit will depend on the tempo and meter in effect at that point in the timeline.</dd>
-
<dt><kbd class="menu">Bars</kbd></dt>
-
<dd>Set the grid to whole bars. The duration of a grid unit will depend on the tempo and meter in effect at that point in the timeline.</dd>
-
<dt><kbd class="menu">Markers</kbd></dt>
-
<dd>The grid lines are the markers.</dd>
-
<dt><kbd class="menu">Region Starts</kbd></dt>
-
<dd>The grid lines are constructed from region start points (see below).</dd>
-
<dt><kbd class="menu">Region Ends</kbd></dt>
-
<dd>The grid lines are constructed from region end points (see below).</dd>
-
<dt><kbd class="menu">Region Syncs</kbd></dt>
-
<dd>The grid lines are constructed from region sync points.</dd>
-
<dt><kbd class="menu">Region Bounds</kbd></dt>
-
<dd>The grid lines are constructed from region start or end points.</dd>
-
</dl>
-
-
<p>
-
- To use Region starts/ends/syncs/bounds as snap choices, you must have
-
-either
-
+ To use Region starts/ends/syncs/bounds as snap choices, you must have either
</p>
-
-
<ul>
-
<li><em>No</em> tracks selected, which means that Ardour snaps to regions on any track, or </li>
-
<li>Several tracks selected, which means that Ardour only snaps to regions on those selected tracks.</li>
-
</ul>
-
-
<p>
-
- If you are moving items on a track, and only the current track is selected,
-
- then you will only be able to snap to other regions on the same track.
-
- This means that enabling
-
- <kbd class="menu">Edit > Preferences > Editor > Link Selections of Regions and
-
- Tracks</kbd> 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.
-
+ If you are moving items on a track, and only the current track is selected, then you will only be able to snap to other regions on the same track. This means that enabling <kbd class="menu">Edit > Preferences > Editor > Link Selections of Regions and Tracks</kbd> 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.
</p>
</p>
<dl>
- <dt>Create New Group From...</dt><dd>Creates a new group based on some track properties. The choice is :
+ <dt>Create New Group From…</dt><dd>Creates a new group based on some track properties. The choice is:
<ul>
- <li><kbd class="menu">Selection...</kbd> to create a group of all selected tracks</li>
- <li><kbd class="menu">Record Enabled...</kbd> to create a group of all the tracks that are record enabled</li>
- <li><kbd class="menu">Soloed...</kbd> to create a group of all the soloed tracks</li>
+ <li><kbd class="menu">Selection…</kbd> to create a group of all selected tracks</li>
+ <li><kbd class="menu">Record Enabled…</kbd> to create a group of all the tracks that are record enabled</li>
+ <li><kbd class="menu">Soloed…</kbd> to create a group of all the soloed tracks</li>
</ul></dd>
- <dt>Create New Group with Master From...</dt><dd>Acts exactly as the previous choice, but also creates a Control Master tied to these tracks.</dd>
- <dt>Assign Selection to Control Master...</dt><dd>Allows to link all the selected tracks to a chosen Control Master, whether or not they belong to a group.</dd>
- <dt>Assign Record Enabled to Control Master...</dt><dd>Allows to link all the record armed tracks to a chosen Control Master.</dd>
- <dt>Assign Soloed to Control Master...</dt><dd>Allows to link all the soloed tracks to a chosen Control Master.</dd>
+ <dt>Create New Group with Master From…</dt><dd>Acts exactly as the previous choice, but also creates a Control Master tied to these tracks.</dd>
+ <dt>Assign Selection to Control Master…</dt><dd>Allows to link all the selected tracks to a chosen Control Master, whether or not they belong to a group.</dd>
+ <dt>Assign Record Enabled to Control Master…</dt><dd>Allows to link all the record armed tracks to a chosen Control Master.</dd>
+ <dt>Assign Soloed to Control Master…</dt><dd>Allows to link all the soloed tracks to a chosen Control Master.</dd>
<dt>Enable All Groups</dt><dd>Enable all the groups, i.e. their selected properties are synchronized.</dd>
<dt>Disable All Groups</dt><dd>Disable all the groups, i.e. changing a property in a track won't affect the others.</dd>
</dl>
<p>
- When a group is selected, <kbd class="mouse">right</kbd> clicking it adds the following menu entries :
+ When a group is selected, <kbd class="mouse">right</kbd> clicking it adds the following menu entries:
</p>
<dl>
- <dt>Create New Group with Master From...</dt><dd>Acts exactly as the previous choice, but also creates a Control Master tied to these tracks.</dd>
- <dt>Edit Group
...</dt><dd>Shows the <kbd class="menu">Track/bus Group</kbd> <a href="/working-with-tracks/track-and-bus-groups/">window</a>.</dd>
+ <dt>Create New Group with Master From…</dt><dd>Acts exactly as the previous choice, but also creates a Control Master tied to these tracks.</dd>
+ <dt>Edit Group
…</dt><dd>Shows the <kbd class="menu">Track/bus Group</kbd> <a href="/working-with-tracks/track-and-bus-groups/">window</a>.</dd>
<dt>Collect Group</dt><dd>Rearranges the tracks/busses order to visualy group together the tracks belonging to the same group.</dd>
<dt>Remove Group</dt><dd>Deletes the group (but not the tracks/busses belongidng to this group).</dd>
- <dt>Assign Group to Control Master...</dt><dd>Allows to link all the tracks in the group to a chosen VCA.</dd>
+ <dt>Assign Group to Control Master…</dt><dd>Allows to link all the tracks in the group to a chosen VCA.</dd>
<dt>Add/Remove Subgroup Bus</dt><dd>Creates/removes a new bus connected to the Master, and send the output of all the tracks in the group to this new bus.</dd>
<dt>Add New Aux Bus (pre/post-fader)</dt><dd>Creates a new bus connected to the Master, and create <a href="/signal-routing/aux-sends/">Aux Sends</a> (pre or post-fader) in all the tracks in the group to this new bus.</dd>
</dl>
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.
</p>
<p>
Ardour offers many options for how to deal with instances where you overlap
<dt>never allow them</dt>
<dd>Edits that would create note overlaps are not allowed</dd>
<dt>don't do anything in particular</dt>
- <dd>Ardour leaves overlapping notes alone — the behaviour of a MIDI receiver (plugin or hardware) is undefined</dd>
+ <dd>Ardour leaves overlapping notes alone—the behaviour of a MIDI receiver (plugin or hardware) is undefined</dd>
<dt>replace any overlapped existing note</dt>
<dd>When one note is moved to overlap another, remove the one that wasn't being moved</dd>
<dt>shorten the overlapped existing note</dt>
<dd>When one note is moved to overlap another, merge them both to form one (longer) note</dd>
</dl>
<p>
- 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.
</p>
<p class="warning">
Ardour does not check for note overlaps across tracks or even across regions.
If you create these, it is your responsibility to deal with the consequences.
</p>
-
<h2>Importing options</h2>
<p>
- Through the <kbd class="menu">Add files...</kbd> option, imported files can be inserted in the session:
+ Through the <kbd class="menu">Add files…</kbd> option, imported files can be inserted in the session:
</p>
<dl>
<dt>as new tracks</dt><dd>automatically creates new tracks and import the files in it</dd>
<p class="fixme">Add content</p>
-
-
feeding the signal from before the insert point to its <dfn>Insert
send(s)</dfn>, and connecting the remainder of the channel strip to the
<dfn>Insert return(s)</dfn>, both of which are JACK ports which are
- visible to other JACK applications.<br />
+ visible to other JACK applications.<br>
Inserts are the JACK equivalents of normalized switching jacks on an
analog console.
</p>
<li>Use AATranslator</li>
</ul>
-{% children %}
-
+<p class=fixme>Add content</p>
+
<h2>Checkboxes</h2>
<h2>Buttons</h2>
<h2>Pull Down Menus</h2>
<h2>Pop Up Menus</h2>
<h2>Context Menus</h2>
<h2>Browsers</h2>
-
non-destructive audio editing is a far from simple process. Doing it
right requires not only a good ear, but a solid appreciation of
basic audio concepts and a robust mental model/metaphor of what you
-are doing. Ardour is not a simple "audio recorder" - you can
+are doing. Ardour is not a simple "audio recorder"—you can
certainly use it to record stereo (or even mono) material in a
single track, but the program has been designed around much richer
capabilities than this.
</p>
<p>
-Some people complain that Ardour is not "intuitive" to use — its
+Some people complain that Ardour is not "intuitive" to use—its
lead developer has
<a href="https://community.ardour.org/node/3322">some thoughts on that</a>.
</p>
-
<li>Open <kbd class="menu">Workspace > Window Managment</kbd>.</li>
<li>Select <kbd class="menu">Window Rules</kbd> in the left-hand sidebar. It
should default to the <kbd class="menu">Window matching</kbd> tab.</li>
- <li>Click on the <kbd class="menu">New...</kbd> button.</li>
+ <li>Click on the <kbd class="menu">New…</kbd> button.</li>
<li>On the line that says <kbd class="menu">Window class (application)</kbd>,
set the combo box to <kbd class="menu">Substring Match</kbd> and type <kbd
class="user">ardour</kbd> in the text entry field.</li>
but this no longer works under KDE Plasma 5.
</p>
-
-
<p>
In many other cases, such as playback, recording, overdubbing, mixing,
mastering, etc. latency is not important, since it can easily be
- compensated for.<br />
+ compensated for.<br>
To explain that statement: During mixing or mastering you don't care
if it takes 10ms or 100ms between the instant you press the play button
and sound coming from the speaker. The same is true when recording with a count in.
<li>Adjust the playback and capture levels in your mixer.</li>
</ol>
-
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.<br />
+ the computer, avoiding the systemlatency.<br>
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.
</p>
-{% children %}
-
<img class="right" style="clear:both" src="/images/track-layer-dialog.png"
alt="Track layering menu" />
<p>
- Ardour allows arbitrary <dfn>layering</dfn> of regions — you can
+ Ardour allows arbitrary <dfn>layering</dfn> of regions—you can
have as many regions you wish at a given position. By default, the regions are
<dfn>overlaid</dfn> in the editor window, to save vertical space.
</p>
you'll end up with 10 lanes. Obviously, using a large track height
works much better for this than a small one.
</p>
-
<dt><kbd class="osc">ProcessorMenu/deactivate_all</kbd></dt><dd>Deactivate All</dd>
<dt><kbd class="osc">ProcessorMenu/delete</kbd></dt><dd>Delete</dd>
<dt><kbd class="osc">ProcessorMenu/deselectall</kbd></dt><dd>Deselect All</dd>
- <dt><kbd class="osc">ProcessorMenu/edit-generic</kbd></dt><dd>Edit with generic controls...</dd>
- <dt><kbd class="osc">ProcessorMenu/edit</kbd></dt><dd>Edit...</dd>
- <dt><kbd class="osc">ProcessorMenu/newaux</kbd></dt><dd>New Aux Send ...</dd>
+ <dt><kbd class="osc">ProcessorMenu/edit-generic</kbd></dt><dd>Edit with generic controls…</dd>
+ <dt><kbd class="osc">ProcessorMenu/edit</kbd></dt><dd>Edit…</dd>
+ <dt><kbd class="osc">ProcessorMenu/newaux</kbd></dt><dd>New Aux Send …</dd>
<dt><kbd class="osc">ProcessorMenu/newinsert</kbd></dt><dd>New Insert</dd>
<dt><kbd class="osc">ProcessorMenu/newplugin</kbd></dt><dd>New Plugin</dd>
- <dt><kbd class="osc">ProcessorMenu/newsend</kbd></dt><dd>New External Send ...</dd>
+ <dt><kbd class="osc">ProcessorMenu/newsend</kbd></dt><dd>New External Send …</dd>
<dt><kbd class="osc">ProcessorMenu/paste</kbd></dt><dd>Paste</dd>
<dt><kbd class="osc">ProcessorMenu/rename</kbd></dt><dd>Rename</dd>
<dt><kbd class="osc">ProcessorMenu/selectall</kbd></dt><dd>Select All</dd>
<dt><kbd class="osc">MIDI/panic</kbd></dt><dd>Panic</dd>
<!-- Main - updated -->
<dt><kbd class="osc">Main/AddLuaScript</kbd></dt><dd></dd>
- <dt><kbd class="osc">Main/AddTrackBus</kbd></dt><dd>Add Track or Bus...</dd>
+ <dt><kbd class="osc">Main/AddTrackBus</kbd></dt><dd>Add Track or Bus…</dd>
<dt><kbd class="osc">Main/CleanupPeakFiles</kbd></dt><dd></dd>
- <dt><kbd class="osc">Main/CleanupUnused</kbd></dt><dd>Clean-up Unused Sources...</dd>
+ <dt><kbd class="osc">Main/CleanupUnused</kbd></dt><dd>Clean-up Unused Sources…</dd>
<dt><kbd class="osc">Main/Close</kbd></dt><dd>Close</dd>
<dt><kbd class="osc">Main/CloseVideo</kbd></dt><dd>Remove Video</dd>
- <dt><kbd class="osc">Main/EditMetadata</kbd></dt><dd>Edit Metadata...</dd>
+ <dt><kbd class="osc">Main/EditMetadata</kbd></dt><dd>Edit Metadata…</dd>
<dt><kbd class="osc">Main/Escape</kbd></dt><dd></dd>
- <dt><kbd class="osc">Main/ExportAudio</kbd></dt><dd>Export To Audio File(s)...</dd>
+ <dt><kbd class="osc">Main/ExportAudio</kbd></dt><dd>Export To Audio File(s)…</dd>
<dt><kbd class="osc">Main/Export</kbd></dt><dd>Export</dd>
<dt><kbd class="osc">Main/ExportVideo</kbd></dt><dd>Export To Video File</dd>
<dt><kbd class="osc">Main/FlushWastebasket</kbd></dt><dd>Flush Wastebasket</dd>
- <dt><kbd class="osc">Main/ImportMetadata</kbd></dt><dd>Import Metadata...</dd>
+ <dt><kbd class="osc">Main/ImportMetadata</kbd></dt><dd>Import Metadata…</dd>
<dt><kbd class="osc">Main/Metadata</kbd></dt><dd>Metadata</dd>
- <dt><kbd class="osc">Main/New</kbd></dt><dd>New...</dd>
- <dt><kbd class="osc">Main/Open</kbd></dt><dd>Open...</dd>
+ <dt><kbd class="osc">Main/New</kbd></dt><dd>New…</dd>
+ <dt><kbd class="osc">Main/Open</kbd></dt><dd>Open…</dd>
<dt><kbd class="osc">Main/OpenVideo</kbd></dt><dd>Open Video</dd>
<dt><kbd class="osc">Main/QuickSnapshotStay</kbd></dt><dd></dd>
<dt><kbd class="osc">Main/QuickSnapshotSwitch</kbd></dt><dd></dd>
- <dt><kbd class="osc">Main/Recent</kbd></dt><dd>Recent...</dd>
+ <dt><kbd class="osc">Main/Recent</kbd></dt><dd>Recent…</dd>
<dt><kbd class="osc">Main/RemoveLuaScript</kbd></dt><dd></dd>
- <dt><kbd class="osc">Main/Rename</kbd></dt><dd>Rename...</dd>
- <dt><kbd class="osc">Main/SaveAs</kbd></dt><dd>Save As...</dd>
- <dt><kbd class="osc">Main/SaveTemplate</kbd></dt><dd>Save Template...</dd>
+ <dt><kbd class="osc">Main/Rename</kbd></dt><dd>Rename…</dd>
+ <dt><kbd class="osc">Main/SaveAs</kbd></dt><dd>Save As…</dd>
+ <dt><kbd class="osc">Main/SaveTemplate</kbd></dt><dd>Save Template…</dd>
<dt><kbd class="osc">Main/Scripting</kbd></dt><dd></dd>
<dt><kbd class="osc">Main/SnapshotStay</kbd></dt><dd></dd>
<dt><kbd class="osc">Main/SnapshotSwitch</kbd></dt><dd></dd>
- <dt><kbd class="osc">Main/StemExport</kbd></dt><dd>Stem export...</dd>
+ <dt><kbd class="osc">Main/StemExport</kbd></dt><dd>Stem export…</dd>
<dt><kbd class="osc">Main/cancel-solo</kbd></dt><dd></dd>
<dt><kbd class="osc">Main/duplicate-routes</kbd></dt><dd></dd>
<!-- Main_menu - updated -->
<dt><kbd class="osc">Editor/add-location-from-playhead</kbd></dt><dd>Add Mark from Playhead</dd>
<dt><kbd class="osc">Editor/addExistingAudioFiles</kbd></dt><dd>Import</dd>
<dt><kbd class="osc">Editor/addExistingPTFiles</kbd></dt><dd></dd>
- <dt><kbd class="osc">Editor/addExternalAudioToRegionList</kbd></dt><dd>Import to Region List...</dd>
+ <dt><kbd class="osc">Editor/addExternalAudioToRegionList</kbd></dt><dd>Import to Region List…</dd>
<dt><kbd class="osc">Editor/alt-finish-range</kbd></dt><dd></dd>
<dt><kbd class="osc">Editor/alt-start-range</kbd></dt><dd></dd>
<dt><kbd class="osc">Editor/alternate-add-location-from-playhead</kbd></dt><dd></dd>
<dt><kbd class="osc">Region/boost-region-gain</kbd></dt><dd>Boost Gain</dd>
<dt><kbd class="osc">Region/bounce-regions-processed</kbd></dt><dd>Bounce (without processing)</dd>
<dt><kbd class="osc">Region/bounce-regions-unprocessed</kbd></dt><dd>Bounce (with processing)</dd>
- <dt><kbd class="osc">Region/choose-top-region-context-menu</kbd></dt><dd>Choose Top...</dd>
- <dt><kbd class="osc">Region/choose-top-region</kbd></dt><dd>Choose Top...</dd>
+ <dt><kbd class="osc">Region/choose-top-region-context-menu</kbd></dt><dd>Choose Top…</dd>
+ <dt><kbd class="osc">Region/choose-top-region</kbd></dt><dd>Choose Top…</dd>
<dt><kbd class="osc">Region/close-region-gaps</kbd></dt><dd>Close Gaps</dd>
<dt><kbd class="osc">Region/combine-regions</kbd></dt><dd>Combine</dd>
<dt><kbd class="osc">Region/cut-region-gain</kbd></dt><dd>Cut Gain</dd>
<dt><kbd class="osc">Region/duplicate-region</kbd></dt><dd>Duplicate</dd>
- <dt><kbd class="osc">Region/export-region</kbd></dt><dd>Export...</dd>
+ <dt><kbd class="osc">Region/export-region</kbd></dt><dd>Export…</dd>
<dt><kbd class="osc">Region/fork-region</kbd></dt><dd>Unlink from other copies</dd>
- <dt><kbd class="osc">Region/insert-patch-change-context</kbd></dt><dd>Insert Patch Change...</dd>
- <dt><kbd class="osc">Region/insert-patch-change</kbd></dt><dd>Insert Patch Change...</dd>
+ <dt><kbd class="osc">Region/insert-patch-change-context</kbd></dt><dd>Insert Patch Change…</dd>
+ <dt><kbd class="osc">Region/insert-patch-change</kbd></dt><dd>Insert Patch Change…</dd>
<dt><kbd class="osc">Region/insert-region-from-region-list</kbd></dt><dd>Insert Region From Region List</dd>
<dt><kbd class="osc">/Region/legatize-region</kbd></dt><dd></dd>
<dt><kbd class="osc">Region/loop-region</kbd></dt><dd>Loop</dd>
<dt><kbd class="osc">Region/loudness-analyze-region</kbd></dt><dd></dd>
<dt><kbd class="osc">Region/lower-region</kbd></dt><dd>Lower</dd>
<dt><kbd class="osc">Region/lower-region-to-bottom</kbd></dt><dd>Lower to Bottom</dd>
- <dt><kbd class="osc">Region/multi-duplicate-region</kbd></dt><dd>Multi-Duplicate...</dd>
+ <dt><kbd class="osc">Region/multi-duplicate-region</kbd></dt><dd>Multi-Duplicate…</dd>
<dt><kbd class="osc">Region/naturalize-region</kbd></dt><dd>Move to Original Position</dd>
- <dt><kbd class="osc">Region/normalize-region</kbd></dt><dd>Normalize...</dd>
+ <dt><kbd class="osc">Region/normalize-region</kbd></dt><dd>Normalize…</dd>
<dt><kbd class="osc">Region/nudge-backward-by-capture-offset</kbd></dt><dd>Nudge Earlier by Capture Offset</dd>
<dt><kbd class="osc">Region/nudge-backward</kbd></dt><dd>Nudge Earlier</dd>
<dt><kbd class="osc">Region/nudge-forward-by-capture-offset</kbd></dt><dd>Nudge Later by Capture Offset</dd>
<dt><kbd class="osc">Region/nudge-forward</kbd></dt><dd>Nudge Later</dd>
- <dt><kbd class="osc">Region/pitch-shift-region</kbd></dt><dd>Pitch Shift...</dd>
+ <dt><kbd class="osc">Region/pitch-shift-region</kbd></dt><dd>Pitch Shift…</dd>
<dt><kbd class="osc">Region/place-transient</kbd></dt><dd>Place Transient</dd>
<dt><kbd class="osc">Region/play-selected-regions</kbd></dt><dd>Play</dd>
- <dt><kbd class="osc">Region/quantize-region</kbd></dt><dd>Quantize...</dd>
+ <dt><kbd class="osc">Region/quantize-region</kbd></dt><dd>Quantize…</dd>
<dt><kbd class="osc">Region/raise-region</kbd></dt><dd>Raise</dd>
<dt><kbd class="osc">Region/raise-region-to-top</kbd></dt><dd>Raise to Top</dd>
<dt><kbd class="osc">Region/region-fill-track</kbd></dt><dd>Fill Track</dd>
<dt><kbd class="osc">Region/remove-region</kbd></dt><dd>Remove</dd>
<dt><kbd class="osc">Region/remove-region-sync</kbd></dt><dd>Remove Sync</dd>
- <dt><kbd class="osc">Region/rename-region</kbd></dt><dd>Rename...</dd>
+ <dt><kbd class="osc">Region/rename-region</kbd></dt><dd>Rename…</dd>
<dt><kbd class="osc">Region/reset-region-gain-envelopes</kbd></dt><dd>Reset Envelope</dd>
<dt><kbd class="osc">Region/reset-region-scale-amplitude</kbd></dt><dd>Reset Gain</dd>
<dt><kbd class="osc">Region/reverse-region</kbd></dt><dd>Reverse</dd>
<dt><kbd class="osc">Region/set-region-sync-position</kbd></dt><dd>Set Sync Position</dd>
<dt><kbd class="osc">Region/set-selection-from-region</kbd></dt><dd>Set Range Selection</dd>
<dt><kbd class="osc">Region/set-tempo-from-region</kbd></dt><dd>Set Tempo from Region = Bar</dd>
- <dt><kbd class="osc">Region/show-region-list-editor</kbd></dt><dd>List Editor...</dd>
- <dt><kbd class="osc">Region/show-region-properties</kbd></dt><dd>Properties...</dd>
- <dt><kbd class="osc">Region/show-rhythm-ferret</kbd></dt><dd>Rhythm Ferret...</dd>
+ <dt><kbd class="osc">Region/show-region-list-editor</kbd></dt><dd>List Editor…</dd>
+ <dt><kbd class="osc">Region/show-region-properties</kbd></dt><dd>Properties…</dd>
+ <dt><kbd class="osc">Region/show-rhythm-ferret</kbd></dt><dd>Rhythm Ferret…</dd>
<dt><kbd class="osc">Region/snap-regions-to-grid</kbd></dt><dd>Snap Position To Grid</dd>
<dt><kbd class="osc">Region/split-multichannel-region</kbd></dt><dd>Make Mono Regions</dd>
<dt><kbd class="osc">Region/split-region-at-transients</kbd></dt><dd>Split at Percussion Onsets</dd>
<dt><kbd class="osc">Region/split-region</kbd></dt><dd>Split</dd>
- <dt><kbd class="osc">Region/strip-region-silence</kbd></dt><dd>Strip Silence...</dd>
+ <dt><kbd class="osc">Region/strip-region-silence</kbd></dt><dd>Strip Silence…</dd>
<dt><kbd class="osc">Region/toggle-opaque-region</kbd></dt><dd>Opaque</dd>
<dt><kbd class="osc">Region/toggle-region-fade-in</kbd></dt><dd>Fade In</dd>
<dt><kbd class="osc">Region/toggle-region-fade-out</kbd></dt><dd>Fade Out</dd>
<dt><kbd class="osc">Region/toggle-region-mute</kbd></dt><dd>Mute</dd>
<dt><kbd class="osc">Region/toggle-region-video-lock</kbd></dt><dd>Lock to Video</dd>
<dt><kbd class="osc">Region/transform-region</kbd></dt><dd></dd>
- <dt><kbd class="osc">Region/transpose-region</kbd></dt><dd>Transpose...</dd>
+ <dt><kbd class="osc">Region/transpose-region</kbd></dt><dd>Transpose…</dd>
<dt><kbd class="osc">Region/trim-back</kbd></dt><dd>Trim End at Edit Point</dd>
<dt><kbd class="osc">Region/trim-front</kbd></dt><dd>Trim Start at Edit Point</dd>
<dt><kbd class="osc">Region/trim-region-to-loop</kbd></dt><dd>Trim to Loop</dd>
<dt><kbd class="osc">Rulers/toggle-tempo-ruler</kbd></dt><dd>Tempo</dd>
<dt><kbd class="osc">Rulers/toggle-timecode-ruler</kbd></dt><dd>Timecode</dd>
<dt><kbd class="osc">Rulers/toggle-video-ruler</kbd></dt><dd>Video</dd>
- <!-- Shuttle Actions... these don't seem to be there any more
+ <!-- Shuttle Actions… these don't seem to be there any more
<dt><kbd class="osc">ShuttleActions/SetShuttleUnitsPercentage</kbd></dt><dd>Percentage</dd>
<dt><kbd class="osc">ShuttleActions/SetShuttleUnitsSemitones</kbd></dt><dd>Semitones</dd-->
<!-- snap checked -->
<dt><kbd class="osc">/Mixer/unity-gain</kbd></dt><dd></dd>
</dl>
-{% children %}
-
to remove it from the search path.
</p>
-
a control surface.
</p>
-{% children %}
-
<p>
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.
</p>
<p class="fixme">Add content</p>
-
-
<p>
-Sessions can have various items of metadata attached to them, via
-<kbd class ="menu">Session > Metadata > Edit Metadata...</kbd> and
-<kbd class ="menu">Session > Metadata > Import Metadata...</kbd>.
+ Sessions can have various items of metadata attached to them, via <kbd class ="menu">Session > Metadata > Edit Metadata…</kbd> and <kbd class ="menu">Session > Metadata > Import Metadata…</kbd>.
</p>
<h2>Edit Session Metadata Dialog</h2>
+
<img src="/images/edit-session-metadata.png" />
<h2>Meter Types</h2>
<p>
A general treatise on metering is beyond the scope of this
- manual. It is a complex subject with a history...
+ manual. It is a complex subject with a history…
For background information and further reading we recommend:
</p>
<ul>
- <li><a href="http://www.digido.com/how-to-make-better-recordings-part-2.html">How To Make Better Recordings in the 21st Century - An Integrated Approach to Metering, Monitoring, and Leveling Practices</a> by Bob Katz. Has a good historic overview of meters and motivates the K-meter</li>
- <li><a href="https://en.wikipedia.org/wiki/Peak_programme_meter#Table_of_characteristics">Wikipedia: Peak programme meter</a> - overview of meter types.</li>
+ <li><a href="http://www.digido.com/how-to-make-better-recordings-part-2.html">How To Make Better Recordings in the 21st Century—An Integrated Approach to Metering, Monitoring, and Leveling Practices</a> by Bob Katz. Has a good historic overview of meters and motivates the K-meter</li>
+ <li><a href="https://en.wikipedia.org/wiki/Peak_programme_meter#Table_of_characteristics">Wikipedia: Peak programme meter</a>—overview of meter types.</li>
<li>"Audio Metering: Measurements, Standards and Practice: Measurements, Standards and Practics", by Eddy Brixen. ISBN: 0240814673</li>
<li>"Art of Digital Audio", by John Watkinson. ISBN: 0240515870</li>
</ul>
<dt>VU meters</dt>
<dd><dfn><abbr title="Volume Unit">VU</abbr> meters</dfn> are the dinosaurs (1939)
amongst the meters. They react very slowly, averaging out peaks.
- Their specification is very strict (300ms rise-time, 1 - 1.5% overshoot,
+ Their specification is very strict (300ms rise-time, 1–1.5% overshoot,
flat frequency response). Ardour's VU meter adheres to that spec, but for
visual consistency it is displayed as a bar-graph rather than needle-style
(more below).
</p>
<p>
<kbd class="mouse">Left</kbd> on the peak-indicator button resets the
- <dfn>peak-hold indicator</dfn> of a single channel.<br />
+ <dfn>peak-hold indicator</dfn> of a single channel.<br>
<kbd class="mod1 mouse">Left</kbd> resets a whole <dfn>group</dfn>, and<br/>
<kbd class="mod13 mouse">Left</kbd> resets all meters.
</p>
<p>
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):
-
<a href="https://github.com/x42/meters.lv2/">meters.lv2</a>.
+ 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):
+ <a href="https://github.com/x42/meters.lv2/">meters.lv2</a>.
</p>
backend of JACK and get the exact same results.</dd>
<dt>All others</dt>
<dd>Use a2jmidid to act as a bridge between ALSA MIDI and JACK. Do
- not use the -X seq or -X raw arguments - the timing and performance
+ not use the -X seq or -X raw arguments—the timing and performance
of these options is not acceptable.
</dd>
</dl>
Set <kbd class="menu">Settings > MIDI Driver</kbd> to <kbd
class="input">none</kbd>.
Then uncheck the <kbd class="optoff">Misc > Enable ALSA Sequencer
- support</kbd> option.<br />
+ support</kbd> option.<br>
Now it's time to restart your jack server before going on.
</p>
connect ports and filters MIDI data.</li>
</ul>
-
-
This feature is not currently implemented.
</p>
-{% children %}
-
To the right of the MIDI track controls is a representation of a piano keyboard
called the <dfn>scroomer</dfn>. 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.<br />
+ track, as visualized by the piano keyboard.<br>
Drag the body of the scrollbar up and down to display higher or lower
- pitches.<br />
+ pitches.<br>
Drag the scrollbar handles to zooms in and out and increase and decrease the
- range of visible pitches.<br />
+ range of visible pitches.<br>
clicking on the piano plays the corresponding MIDI note for reference.
</p>
<p>
<dd><kbd class="">9</kbd></dd>
</dl>
-
<dd><kbd class="">9</kbd></dd>
</dl>
-
-
<dt>Solo » Mute</dt><dd>This enables or disables the <em>Solo Mute</em> option.</dd>
</dl>
-<p>
- Note : Changing the solo mode (SiP, PFL or AFL) will update the labels on the mixer strips' solo controls accordingly.
+<p class=note>
+ Changing the solo mode (SiP, PFL or AFL) will update the labels on the mixer strips' solo controls accordingly.
</p>
<h2>The Processors button</h2>
Unarmed tracks however will always just play back their contents from
disk; the live input will never be monitored.
</p>
-
-{% children %}
<h3>Software Monitoring</h3>
<img class="right" src="/images/ardour-monitoring.png" />
<p>With the <dfn>software monitoring</dfn> approach, all monitoring is
- performed by Ardour — it makes track inputs available at track
+ 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.
</p>
-{% children %}
-
window that is modelled on the similiarly named section on large analog consoles.
</p>
-
back the unarmed tracks.
</p>
-{% children %}
-
position along the timeline exactly the same. To do this, use
<kbd class="mouse">Middle</kbd>-drag instead.
</p>
-
for details.
</p>
-
-
-{% children %}
-
<p class="fixme">Add content</p>
-
-
display all snapshots, and then selecting one. If your session is
not displayed in the Recent Sessions list, the <kbd class="menu">Other
Sessions</kbd> button will bring up a file selection dialog to navigate
- your hard drive.<br />
+ your hard drive.<br>
Alternatively, you can opt to create a <kbd class="menu">New
Session</kbd>.
</p>
ALSA drivers or the (preferred) new JACK+ALSA implementation.</dd>
</dl>
-{% children %}
-
copied, they can be pasted at the edit point using
<kbd class="mod1">v</kbd>.
</p>
-
spanned note range.
</li>
<li>
- 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.
</li>
<li>
NoteOn/NoteOff messages through the track, which will typically allow you to
hear each note as it is selected.
</p>
-
-
-
<img class="left" src="/images/toolbar-nudge.png" alt="Editor toolbar's Nudge">
-
-
<p>
-
- The <dfn>nudge controls</dfn> will move the selected region(s) by a fixed amount
-
- of time. The left and right buttons move either backward or forward in time, and the small
-
- clock to the left of these buttons sets the amount of time to nudge by.
-
- As with all other clocks, you can right-click on the clock to choose the
-
- time representation you want to use.
-
+ The <dfn>nudge controls</dfn> will move the selected region(s) by a fixed amount of time. The left and right buttons move either backward or forward in time, and the small clock to the left of these buttons sets the amount of time to nudge by. As with all other clocks, you can right-click on the clock to choose the time representation you want to use.
</p>
-
-
<p>
-
- If there are no selected objects, the nudge controls can be
-
- used to move the playhead backward or forward by the amount shown on the clock.
-
+ If there are no selected objects, the nudge controls can be used to move the playhead backward or forward by the amount shown on the clock.
</p>
<a href="https://en.wikipedia.org/wiki/Word_clock" title="https://en.wikipedia.org/wiki/Word_clock">Word Clock</a>.
It does not carry any absolute reference to a point in time: A clock is
used to keep a system's sample rate regular and accurate.
- Word clock is usually at the frequency of the sample rate —
- at 48 kHz, its period is about 20 μs. Word Clock is the most
+ Word clock is usually at the frequency of the sample rate—at 48 kHz, its period is about 20 μs. Word Clock is the most
common sample rate based clock but other clocks do exist such as Black and
Burst, Tri-Level and DARS. Sample rates can be derived from these clocks as well.
</p>
Synchronization of multiple interfaces requires hardware support to sync
the clocks.
If two interfaces run at different clocks the only way to align the
- signals is via re-sampling (SRC - Sample Rate Conversion), which is
+ signals is via re-sampling (SRC—Sample Rate Conversion), which is
expensive in terms of CPU usage and may decreases fidelity if done
incorrectly.
</p>
and speed from it.
</p>
-
<dt><kbd class="osc">Common/ToggleRecordEnableTrack8</kbd></dt><dd>Toggle Record Enable Track 8</dd>
<dt><kbd class="osc">Common/ToggleRecordEnableTrack9</kbd></dt><dd>Toggle Record Enable Track 9</dd>
<dt><kbd class="osc">Editor/addExistingAudioFiles</kbd></dt><dd>Import</dd>
- <dt><kbd class="osc">Editor/addExternalAudioToRegionList</kbd></dt><dd>Import to Region List...</dd>
+ <dt><kbd class="osc">Editor/addExternalAudioToRegionList</kbd></dt><dd>Import to Region List…</dd>
<dt><kbd class="osc">Editor/add-location-from-playhead</kbd></dt><dd>Add Mark from Playhead</dd>
<dt><kbd class="osc">Editor/center-edit-cursor</kbd></dt><dd>Center Edit Point</dd>
<dt><kbd class="osc">Editor/center-playhead</kbd></dt><dd>Center Playhead</dd>
<dt><kbd class="osc">Editor/zoom-to-region</kbd></dt><dd>Zoom to Region</dd>
<dt><kbd class="osc">Editor/zoom-to-session</kbd></dt><dd>Zoom to Session</dd>
<dt><kbd class="osc">Editor/zoom-vmon-100</kbd></dt><dd>Original Size</dd>
- <dt><kbd class="osc">Main/AddTrackBus</kbd></dt><dd>Add Track or Bus...</dd>
- <dt><kbd class="osc">Main/CleanupUnused</kbd></dt><dd>Clean-up Unused Sources...</dd>
+ <dt><kbd class="osc">Main/AddTrackBus</kbd></dt><dd>Add Track or Bus…</dd>
+ <dt><kbd class="osc">Main/CleanupUnused</kbd></dt><dd>Clean-up Unused Sources…</dd>
<dt><kbd class="osc">Main/Close</kbd></dt><dd>Close</dd>
<dt><kbd class="osc">Main/CloseVideo</kbd></dt><dd>Remove Video</dd>
- <dt><kbd class="osc">Main/EditMetadata</kbd></dt><dd>Edit Metadata...</dd>
- <dt><kbd class="osc">Main/ExportAudio</kbd></dt><dd>Export To Audio File(s)...</dd>
+ <dt><kbd class="osc">Main/EditMetadata</kbd></dt><dd>Edit Metadata…</dd>
+ <dt><kbd class="osc">Main/ExportAudio</kbd></dt><dd>Export To Audio File(s)…</dd>
<dt><kbd class="osc">Main/Export</kbd></dt><dd>Export</dd>
<dt><kbd class="osc">Main/ExportVideo</kbd></dt><dd>Export To Video File</dd>
<dt><kbd class="osc">Main/FlushWastebasket</kbd></dt><dd>Flush Wastebasket</dd>
- <dt><kbd class="osc">Main/ImportMetadata</kbd></dt><dd>Import Metadata...</dd>
+ <dt><kbd class="osc">Main/ImportMetadata</kbd></dt><dd>Import Metadata…</dd>
<dt><kbd class="osc">Main_menu/AudioFileFormatData</kbd></dt><dd>Sample Format</dd>
<dt><kbd class="osc">Main_menu/AudioFileFormatHeader</kbd></dt><dd>File Type</dd>
<dt><kbd class="osc">Main_menu/AudioFileFormat</kbd></dt><dd>Audio File Format</dd>
<dt><kbd class="osc">Main_menu/TransportOptions</kbd></dt><dd>Options</dd>
<dt><kbd class="osc">Main_menu/WindowMenu</kbd></dt><dd>Window</dd>
<dt><kbd class="osc">Main/Metadata</kbd></dt><dd>Metadata</dd>
- <dt><kbd class="osc">Main/New</kbd></dt><dd>New...</dd>
- <dt><kbd class="osc">Main/Open</kbd></dt><dd>Open...</dd>
+ <dt><kbd class="osc">Main/New</kbd></dt><dd>New…</dd>
+ <dt><kbd class="osc">Main/Open</kbd></dt><dd>Open…</dd>
<dt><kbd class="osc">Main/OpenVideo</kbd></dt><dd>Open Video</dd>
- <dt><kbd class="osc">Main/Recent</kbd></dt><dd>Recent...</dd>
- <dt><kbd class="osc">Main/Rename</kbd></dt><dd>Rename...</dd>
- <dt><kbd class="osc">Main/SaveAs</kbd></dt><dd>Save As...</dd>
- <dt><kbd class="osc">Main/SaveTemplate</kbd></dt><dd>Save Template...</dd>
- <dt><kbd class="osc">Main/Snapshot</kbd></dt><dd>Snapshot...</dd>
- <dt><kbd class="osc">Main/StemExport</kbd></dt><dd>Stem export...</dd>
+ <dt><kbd class="osc">Main/Recent</kbd></dt><dd>Recent…</dd>
+ <dt><kbd class="osc">Main/Rename</kbd></dt><dd>Rename…</dd>
+ <dt><kbd class="osc">Main/SaveAs</kbd></dt><dd>Save As…</dd>
+ <dt><kbd class="osc">Main/SaveTemplate</kbd></dt><dd>Save Template…</dd>
+ <dt><kbd class="osc">Main/Snapshot</kbd></dt><dd>Snapshot…</dd>
+ <dt><kbd class="osc">Main/StemExport</kbd></dt><dd>Stem export…</dd>
<dt><kbd class="osc">MIDI/panic</kbd></dt><dd>Panic</dd>
<dt><kbd class="osc">MouseMode/set-mouse-mode-audition</kbd></dt><dd>Audition Tool</dd>
<dt><kbd class="osc">MouseMode/set-mouse-mode-draw</kbd></dt><dd>Note Drawing Tool</dd>
<dt><kbd class="osc">ProcessorMenu/deactivate_all</kbd></dt><dd>Deactivate All</dd>
<dt><kbd class="osc">ProcessorMenu/delete</kbd></dt><dd>Delete</dd>
<dt><kbd class="osc">ProcessorMenu/deselectall</kbd></dt><dd>Deselect All</dd>
- <dt><kbd class="osc">ProcessorMenu/edit-generic</kbd></dt><dd>Edit with generic controls...</dd>
- <dt><kbd class="osc">ProcessorMenu/edit</kbd></dt><dd>Edit...</dd>
- <dt><kbd class="osc">ProcessorMenu/newaux</kbd></dt><dd>New Aux Send ...</dd>
+ <dt><kbd class="osc">ProcessorMenu/edit-generic</kbd></dt><dd>Edit with generic controls…</dd>
+ <dt><kbd class="osc">ProcessorMenu/edit</kbd></dt><dd>Edit…</dd>
+ <dt><kbd class="osc">ProcessorMenu/newaux</kbd></dt><dd>New Aux Send …</dd>
<dt><kbd class="osc">ProcessorMenu/newinsert</kbd></dt><dd>New Insert</dd>
<dt><kbd class="osc">ProcessorMenu/newplugin</kbd></dt><dd>New Plugin</dd>
- <dt><kbd class="osc">ProcessorMenu/newsend</kbd></dt><dd>New External Send ...</dd>
+ <dt><kbd class="osc">ProcessorMenu/newsend</kbd></dt><dd>New External Send …</dd>
<dt><kbd class="osc">ProcessorMenu/paste</kbd></dt><dd>Paste</dd>
<dt><kbd class="osc">ProcessorMenu/rename</kbd></dt><dd>Rename</dd>
<dt><kbd class="osc">ProcessorMenu/selectall</kbd></dt><dd>Select All</dd>
<dt><kbd class="osc">Region/align-regions-start-relative</kbd></dt><dd>Align Start Relative</dd>
<dt><kbd class="osc">Region/align-regions-sync</kbd></dt><dd>Align Sync</dd>
<dt><kbd class="osc">Region/align-regions-sync-relative</kbd></dt><dd>Align Sync Relative</dd>
- <dt><kbd class="osc">Region/analyze-region</kbd></dt><dd>Spectral Analysis...</dd>
+ <dt><kbd class="osc">Region/analyze-region</kbd></dt><dd>Spectral Analysis…</dd>
<dt><kbd class="osc">Region/boost-region-gain</kbd></dt><dd>Boost Gain</dd>
<dt><kbd class="osc">Region/bounce-regions-processed</kbd></dt><dd>Bounce (without processing)</dd>
<dt><kbd class="osc">Region/bounce-regions-unprocessed</kbd></dt><dd>Bounce (with processing)</dd>
- <dt><kbd class="osc">Region/choose-top-region-context-menu</kbd></dt><dd>Choose Top...</dd>
- <dt><kbd class="osc">Region/choose-top-region</kbd></dt><dd>Choose Top...</dd>
+ <dt><kbd class="osc">Region/choose-top-region-context-menu</kbd></dt><dd>Choose Top…</dd>
+ <dt><kbd class="osc">Region/choose-top-region</kbd></dt><dd>Choose Top…</dd>
<dt><kbd class="osc">Region/close-region-gaps</kbd></dt><dd>Close Gaps</dd>
<dt><kbd class="osc">Region/combine-regions</kbd></dt><dd>Combine</dd>
<dt><kbd class="osc">Region/cut-region-gain</kbd></dt><dd>Cut Gain</dd>
<dt><kbd class="osc">Region/duplicate-region</kbd></dt><dd>Duplicate</dd>
- <dt><kbd class="osc">Region/export-region</kbd></dt><dd>Export...</dd>
+ <dt><kbd class="osc">Region/export-region</kbd></dt><dd>Export…</dd>
<dt><kbd class="osc">Region/fork-region</kbd></dt><dd>Unlink from other copies</dd>
- <dt><kbd class="osc">Region/insert-patch-change-context</kbd></dt><dd>Insert Patch Change...</dd>
- <dt><kbd class="osc">Region/insert-patch-change</kbd></dt><dd>Insert Patch Change...</dd>
+ <dt><kbd class="osc">Region/insert-patch-change-context</kbd></dt><dd>Insert Patch Change…</dd>
+ <dt><kbd class="osc">Region/insert-patch-change</kbd></dt><dd>Insert Patch Change…</dd>
<dt><kbd class="osc">Region/insert-region-from-region-list</kbd></dt><dd>Insert Region From Region List</dd>
<dt><kbd class="osc">RegionList/RegionListSort</kbd></dt><dd>Sort</dd>
<dt><kbd class="osc">RegionList/removeUnusedRegions</kbd></dt><dd>Remove Unused</dd>
<dt><kbd class="osc">Region/loop-region</kbd></dt><dd>Loop</dd>
<dt><kbd class="osc">Region/lower-region</kbd></dt><dd>Lower</dd>
<dt><kbd class="osc">Region/lower-region-to-bottom</kbd></dt><dd>Lower to Bottom</dd>
- <dt><kbd class="osc">Region/multi-duplicate-region</kbd></dt><dd>Multi-Duplicate...</dd>
+ <dt><kbd class="osc">Region/multi-duplicate-region</kbd></dt><dd>Multi-Duplicate…</dd>
<dt><kbd class="osc">Region/naturalize-region</kbd></dt><dd>Move to Original Position</dd>
- <dt><kbd class="osc">Region/normalize-region</kbd></dt><dd>Normalize...</dd>
+ <dt><kbd class="osc">Region/normalize-region</kbd></dt><dd>Normalize…</dd>
<dt><kbd class="osc">Region/nudge-backward-by-capture-offset</kbd></dt><dd>Nudge Earlier by Capture Offset</dd>
<dt><kbd class="osc">Region/nudge-backward</kbd></dt><dd>Nudge Earlier</dd>
<dt><kbd class="osc">Region/nudge-forward-by-capture-offset</kbd></dt><dd>Nudge Later by Capture Offset</dd>
<dt><kbd class="osc">Region/nudge-forward</kbd></dt><dd>Nudge Later</dd>
- <dt><kbd class="osc">Region/pitch-shift-region</kbd></dt><dd>Pitch Shift...</dd>
+ <dt><kbd class="osc">Region/pitch-shift-region</kbd></dt><dd>Pitch Shift…</dd>
<dt><kbd class="osc">Region/place-transient</kbd></dt><dd>Place Transient</dd>
<dt><kbd class="osc">Region/play-selected-regions</kbd></dt><dd>Play</dd>
- <dt><kbd class="osc">Region/quantize-region</kbd></dt><dd>Quantize...</dd>
+ <dt><kbd class="osc">Region/quantize-region</kbd></dt><dd>Quantize…</dd>
<dt><kbd class="osc">Region/raise-region</kbd></dt><dd>Raise</dd>
<dt><kbd class="osc">Region/raise-region-to-top</kbd></dt><dd>Raise to Top</dd>
<dt><kbd class="osc">Region/region-fill-track</kbd></dt><dd>Fill Track</dd>
<dt><kbd class="osc">Region/remove-region</kbd></dt><dd>Remove</dd>
<dt><kbd class="osc">Region/remove-region-sync</kbd></dt><dd>Remove Sync</dd>
- <dt><kbd class="osc">Region/rename-region</kbd></dt><dd>Rename...</dd>
+ <dt><kbd class="osc">Region/rename-region</kbd></dt><dd>Rename…</dd>
<dt><kbd class="osc">Region/reset-region-gain-envelopes</kbd></dt><dd>Reset Envelope</dd>
<dt><kbd class="osc">Region/reset-region-scale-amplitude</kbd></dt><dd>Reset Gain</dd>
<dt><kbd class="osc">Region/reverse-region</kbd></dt><dd>Reverse</dd>
<dt><kbd class="osc">Region/set-region-sync-position</kbd></dt><dd>Set Sync Position</dd>
<dt><kbd class="osc">Region/set-selection-from-region</kbd></dt><dd>Set Range Selection</dd>
<dt><kbd class="osc">Region/set-tempo-from-region</kbd></dt><dd>Set Tempo from Region = Bar</dd>
- <dt><kbd class="osc">Region/show-region-list-editor</kbd></dt><dd>List Editor...</dd>
- <dt><kbd class="osc">Region/show-region-properties</kbd></dt><dd>Properties...</dd>
- <dt><kbd class="osc">Region/show-rhythm-ferret</kbd></dt><dd>Rhythm Ferret...</dd>
+ <dt><kbd class="osc">Region/show-region-list-editor</kbd></dt><dd>List Editor…</dd>
+ <dt><kbd class="osc">Region/show-region-properties</kbd></dt><dd>Properties…</dd>
+ <dt><kbd class="osc">Region/show-rhythm-ferret</kbd></dt><dd>Rhythm Ferret…</dd>
<dt><kbd class="osc">Region/snap-regions-to-grid</kbd></dt><dd>Snap Position To Grid</dd>
<dt><kbd class="osc">Region/split-multichannel-region</kbd></dt><dd>Make Mono Regions</dd>
<dt><kbd class="osc">Region/split-region-at-transients</kbd></dt><dd>Split at Percussion Onsets</dd>
<dt><kbd class="osc">Region/split-region</kbd></dt><dd>Split</dd>
- <dt><kbd class="osc">Region/strip-region-silence</kbd></dt><dd>Strip Silence...</dd>
+ <dt><kbd class="osc">Region/strip-region-silence</kbd></dt><dd>Strip Silence…</dd>
<dt><kbd class="osc">Region/toggle-opaque-region</kbd></dt><dd>Opaque</dd>
<dt><kbd class="osc">Region/toggle-region-fade-in</kbd></dt><dd>Fade In</dd>
<dt><kbd class="osc">Region/toggle-region-fade-out</kbd></dt><dd>Fade Out</dd>
<dt><kbd class="osc">Region/toggle-region-lock-style</kbd></dt><dd>Glue to Bars and Beats</dd>
<dt><kbd class="osc">Region/toggle-region-mute</kbd></dt><dd>Mute</dd>
<dt><kbd class="osc">Region/toggle-region-video-lock</kbd></dt><dd>Lock to Video</dd>
- <dt><kbd class="osc">Region/transpose-region</kbd></dt><dd>Transpose...</dd>
+ <dt><kbd class="osc">Region/transpose-region</kbd></dt><dd>Transpose…</dd>
<dt><kbd class="osc">Region/trim-back</kbd></dt><dd>Trim End at Edit Point</dd>
<dt><kbd class="osc">Region/trim-front</kbd></dt><dd>Trim Start at Edit Point</dd>
<dt><kbd class="osc">Region/trim-region-to-loop</kbd></dt><dd>Trim to Loop</dd>
</p>
<p>If /set_surface is not sent, the default values are used:
<ul>
- <li><em>Bank Size</em>: 0 - No banking (or infinite bank size).</li>
+ <li><em>Bank Size</em>: 0—No banking (or infinite bank size).</li>
<li><em>Strip Types</em>: All strip types except hidden and special.</li>
- <li><em>Feedback</em>: 0 - All off.</li>
- <li><em>Fader Mode</em>: 0 - gain in dB (not relevant with feedback off)</li>
+ <li><em>Feedback</em>: 0—All off.</li>
+ <li><em>Fader Mode</em>: 0—gain in dB (not relevant with feedback off)</li>
</ul>
</p>
<p>
time by running Ardour with the -b flag.
</p>
-{% children %}
-
</p>
<ul>
<li>
- 1 - Button status for strips.
+ 1—Button status for strips.
</li>
<li>
- 2 - Variable control values for strips.
+ 2—Variable control values for strips.
</li>
<li>
- 4 - Send SSID as path extension.
+ 4—Send SSID as path extension.
</li>
<li>
- 8 - heartbeat to surface.
+ 8—heartbeat to surface.
</li>
<li>
- 16 - Enable master section feedback.
+ 16—Enable master section feedback.
</li>
<li>
- 32 - Send Bar and Beat.
+ 32—Send Bar and Beat.
</li>
<li>
- 64 - Send timecode.
+ 64—Send timecode.
</li>
<li>
- 128 - Send meter as dB (-193 to +6) or 0 to 1 depending on gainmode
+ 128—Send meter as dB (-193 to +6) or 0 to 1 depending on gainmode
</li>
<li>
- 256 - Send meter a 16 bit value where each bit is a level
+ 256—Send meter a 16 bit value where each bit is a level
and all bits of lower level are on. For use in a LED strip. This
will not work if the above option is turned on.
</li>
<li>
- 512 - Send signal present, true if level is higher than -40dB
+ 512—Send signal present, true if level is higher than -40dB
</li>
<li>
- 1024 - Send position in samples
+ 1024—Send position in samples
</li>
<li>
- 2048 - Send position in time, hours, minutes, seconds and milliseconds
+ 2048—Send position in time, hours, minutes, seconds and milliseconds
</li>
<li>
- 8192 - Turn on extra select channel feedback beyond what a /strip supports
+ 8192—Turn on extra select channel feedback beyond what a /strip supports
</li>
</ul>
<p>
<p>
The flag bitset above has been defined as (from lsb):
<ul>
- <li>0 - enumeration</li>
- <li>1 - integer step</li>
- <li>2 - logarithmic</li>
- <li>3 - max unbound</li>
- <li>4 - min unbound</li>
- <li>5 - sample rate dependent</li>
- <li>6 - toggled</li>
- <li>7 - controllable</li>
+ <li>0—enumeration</li>
+ <li>1—integer step</li>
+ <li>2—logarithmic</li>
+ <li>3—max unbound</li>
+ <li>4—min unbound</li>
+ <li>5—sample rate dependent</li>
+ <li>6—toggled</li>
+ <li>7—controllable</li>
</ul>
</p>
<p>
further mentions that drop-frame timecode has an accumulated error of -86ms
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 has zero
+ rate. However, some vendors use that rate—despite it being against
+ the specs—because the variant of using exactly 29.97 fps has zero
timecode drift.
</dd>
<dt><kbd class="menu">LTC incoming port</kbd></dt>
</dl>
<p>These settings are also common to all sessions.</p>
-
corrections to existing stereo images.
</p>
-{% children %}
-
</p>
<h2>Names for Patch Numbers: MIDNAM files</h2>
-<p>
- ...
+
+<p class=fixme>
+ Add content
</p>
specific platforms
</p>
-{% children %}
-
that track. You can then edit this playlist without affecting the original.
</p>
-
audio stream. For example, let's say you would like to apply two
different non-linear effects such as distortion or compression to the
same audio source (for linear effects, you could just apply them one after
- the other in the same track).<br />
+ the other in the same track).<br>
Create a new track, apply the original track's playlist, and
then apply effects to both tracks independently.
</p>
<p>
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.<br />
+ in the original track by copying regions over as required.<br>
Alternatively, record each successive take on top of the
others in "layers" and then edit them using the layer tools, explained
later.
The same approach as for takes is useful when you are recording or
editing content in multiple versions, such as dubbed movie dialog in
several languages, and you want all versions on the same track, to
- get the same processing. <br />
+ get the same processing. <br>
Select the appropriate language before exporting the session.
</p>
-
plugins into the
<a href="/working-with-plugins/processor-box/">Processor Box</a>. It is
displayed either by a double-click in the <dfn>Processor Box</dfn> or by
- choosing <kbd class="menu">New Plugin > Plugin Manager...</kbd> from the
+ choosing <kbd class="menu">New Plugin > Plugin Manager…</kbd> from the
<dfn>Processor Box</dfn> context menu.
</p>
<dd>A reverb that finds a balance between sounding good, using a lot of CPU and having too many controls</dd>
</dl>
-
</li>
</ul>
-{% children %}
-
Ardour provides several builtin processors such as the fader or panners.
Processors can also be <dfn>plugins</dfn> used for effects or as instruments, as well
as sends or inserts which are affect <a href="/signal-routing/">signal
- routing</a>.<br />
+ routing</a>.<br>
The arrangement of processors is arbitrary, and there is no limit to how
many there can be.
</p>
<p>
The processor box will always contain a blue <dfn>Fader</dfn> 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.
+ located—this is the fader shown in the lower half of the strip.
</p>
<h2>Adding Processors</h2>
<p>
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.
<dfn>Push/Pull trim</dfn>, activated by pressing shift key before
along with the start of the later region, so that they still directly
adjoin each other.
</p>
-
-
<p><img src="/images/a3_quantize.png" alt="quantize dialog" /></p>
<p>Accessed via <kbd>q</kbd>, the dialog includes:</p>
<p class="fixme">Add content</p>
-
-
have a version number in it (in fact, it probably should not). Ardour will add a
version number in the future if needed (e.g. if you copy or split the region).
</p>
-
<p>
- Use <kbd class="menu">Session > Rename</kbd> to give your session a
- new name. A dialog will appear to ask you for the new name.
+ Use <kbd class="menu">Session > Rename</kbd> to give your session a new name. A dialog will appear to ask you for the new name.
</p>
+
<p>
- This operation does <strong>not</strong> make a new session folder —
- the existing session folder and relevant contents are renamed. If your
- session was not saved before a rename operation, it will be saved
- automatically and then renaming will continue.
- </p>
-<p class="warning">
- Ardour's <kbd class="menu">Session > Save As</kbd> operation will not
- make a new copy of the session folder and its contents. All it does is
- create a new session file.
+ This operation does <strong>not</strong> make a new session folder—the existing session folder and relevant contents are renamed. If your session was not saved before a rename operation, it will be saved automatically and then renaming will continue.
</p>
-
+<p class="warning">
+ Ardour's <kbd class="menu">Session > Save As</kbd> operation will not make a new copy of the session folder and its contents. All it does is create a new session file.
+</p>
<h2>Reordering in the Editor Window</h2>
<p>
- Select the tracks you want to move. Then use<br />
+ Select the tracks you want to move. Then use<br>
<kbd class="menu">Track > Move Selected Tracks Up</kbd>
- (shortcut: <kbd class="mod1">↑</kbd>) or<br />
+ (shortcut: <kbd class="mod1">↑</kbd>) or<br>
<kbd class="menu">Track > Move Selected Tracks Down</kbd>
(shortcut: <kbd class="mod1">↓</kbd>).
</p>
<p class="fixme">Add content</p>
-
-
<img src="/images/ruler.png" alt="Ardour's Ruler">
<p>
- The <dfn>Ruler</dfn> scales the session along time, allows navigating, and can be marked for different uses. The main use of the Ruler is to move the playhead : clicking anywhere on the timeline will bring the playhead at this location in time.
+ The <dfn>Ruler</dfn> scales the session along time, allows navigating, and can be marked for different uses. The main use of the Ruler is to move the playhead: clicking anywhere on the timeline will bring the playhead at this location in time.
</p>
<p>
- It is made of a succession of rows, each having a special role related to time.From top to bottom, those rows are :
+ It is made of a succession of rows, each having a special role related to time.From top to bottom, those rows are:
</p>
<dl>
<dt><dfn>Location Markers</dfn></dt><dd>is meant to receive any kind of marker, user generated or from Ardour itself.</dd>
</dl>
-<p>Most of the operations on the markers are described in <a href="/working-with-markers/">Working with Markers</a>, while the Meter, Tempo, Bars:Beats and Timecode use are described in <a href="/working-with-tempo-and-meter/">Tempo and Meter</a>.</p>
+<p>
+ Most of the operations on the markers are described in <a href="/working-with-markers/">Working with Markers</a>, while the Meter, Tempo, Bars:Beats and Timecode use are described in <a href="/working-with-tempo-and-meter/">Tempo and Meter</a>.
+</p>
Selected files can be auditioned and marked with additional tags if
required.
</p>
-
-
-{% children %}
To control this behaviour, set <kbd class="menu">Edit >
Preferences > Editor > Link selection of regions and tracks</kbd>.
</p>
-
region). This makes it easy to generate regions that correspond
precisely to a range.
</p>
-
ends of the overlapping one, with no overlaps. To do this, select the upper
region, then choose <kbd class="menu">Edit > Separate > Separate
Under</kbd>. This will split the lower region so that it no longer overlaps
- the upper region at all. <br />
+ the upper region at all. <br>
Here is an example where we start with a short region placed so that it
overlaps a longer region:
</p>
<a href="/editing-and-arranging/change-region-lengths/#trimtonextprevious">Trim to Next or Trim to Previous</a>,
depending on which end is covered.
</p>
-
use <kbd class="menu">Session > Properties</kbd>
</p>
-{% children %}
-
-
-
-
-
See also <a href="/working-with-tracks/adding-tracks-and-busses/">Adding Tracks and Busses</a> for information
on templates for individual tracks or busses.
</p>
-
below.
</p>
-{% children %}
-
powerful audio workstation.
</p>
-{% children %}
-
inserts, which means they can be tapped into by other JACK clients.
Only the signal flow inside a track or bus (i.e. from <a
href="/working-with-plugins/processor-box/">processor to processor</a>) is
- handled internally.<br />
+ handled internally.<br>
By default, Ardour will create the following connections for you:
</p>
<ul>
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.
+ to do so—it is generally not necessary and often leads to problems.
</p>
<p>
However, for many workflows during mixing, more complicated signal routing
way you may need or want them.
</p>
-{% children %}
-
This is easily accomplished using <kbd class="menu">Session >
Snapshot</kbd>.
A small dialog will appear, allowing you to enter a name for the snapshot.
- The default name is based on the current date and time.<br />
+ The default name is based on the current date and time.<br>
You can create any number of snapshots.
</p>
<p class="warning">
If you are already working on a session and want to to switch to an
existing snapshot, navigate the <a href="/ardours-interface/editor-lists/snapshot-list/">Snapshot List</a>.
Find the name of the snapshot in the list and click it. Ardour will switch
- to the snapshot. If there are unsaved changes in the current session, Ardour will
- ask what you want to do.
+ to the snapshot. If there are unsaved changes in the current session, Ardour
+ will ask what you want to do.
</p>
<h2>Starting Ardour With a Snapshot</h2>
Since a snapshot is just another session file stored within the session
folder, you can specify that "version" when loading an existing session.
The browser in the "Open Session" dialog will show an expander arrow for
- sessions that have more than 1 session file (i.e. snapshots) present
- — click on it to see the list, and then click on the name of the
+ sessions that have more than 1 session file (i.e. snapshots)
+ present—click on it to see the list, and then click on the name of the
snapshot you want to load.
</p>
easier than most other systems.
</p>
<p>
- Unless ... you already installed the ipMIDI driver in order to use
+ Unless … you already installed the ipMIDI driver in order to use
some other DAW with your Nucleus. If ipMIDI is configured to create
any "ports", it is not possible for Ardour's own ipMIDI support to
function. We decided to offer both methods of communicating with
your Nucleus. If you regularly use other DAWs, and appreciate having
- ipMIDI permanently set up to communication with the Nucleus - that's
+ ipMIDI permanently set up to communication with the Nucleus—that's
OK, you can tell Ardour to use the ipMIDI driver you already
have. But if you're not using other DAWs with the Nucleus (and thus
have not installed the ipMIDI driver), then you can ignore the
</p>
<p>
If you open Ardour without specifying an existing session it will display
- the <kbd class="menu">Session > New...</kbd> dialog and the <kbd class="menu">Audio/MIDI Setup</kbd> dialog.
+ the <kbd class="menu">Session > New…</kbd> dialog and the <kbd class="menu">Audio/MIDI Setup</kbd> dialog.
See <a href="/working-with-sessions/new-session-dialog/">New/Open Session Dialog</a> for a description of those dialogs.
</p>
except the actual audio/MIDI (no plugins, no automation). This is one of
the most common methods of interchange because it works between all DAWs.
</p>
-
<p class="warning">
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.<br />
+as A/B, ORTF or NOS microphone recordings, or delay-panned mixes.<br>
When you reduce the with, you are effectively summing two highly
correlated signals with a delay, which will cause <dfn>comb filtering</dfn>.
</p>
straight line, which would indicate that our signal chain does not color the
sound:
</p>
+
<img src="/images/stereo-panner-with-ORTF-fullwidth.png" />
+
<p>
-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.
</p>
+
<p>
Recall that an <dfn>ORTF</dfn> microphone pair consists of two cardioids spaced 17 cm
apart, with an opening angle of 110°.
<p class="note">
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
+carefully for artefacts if you manipulate unknown stereo signals—many
orchestra sample libraries for example do contain time-delay components.
</p>
-
-
Silence</kbd> to detect silence (based on a user-chosen threshold in
<abbr title="Decibels relative to Full Scale">dBFS</abbr>), split a
region based on the boundaries of the silent segments, and remove the
- silence. You can also specify a minimum length for silence —
- useful when editing very percussive material and just needing to
+ silence. You can also specify a minimum length for silence—useful
+ when editing very percussive material and just needing to
automatically trim the ends of a region. The dialog looks like this:
</p>
<img src="/images/a3_strip_silence.png" alt="strip silence dialog" />
to show silent segments and report the number and durations of the
shortest segments.
</p>
-
<p>
The <kbd class="menu">+</kbd> button under the list is a shortcut to create a new track,
- bus or VCA, as in clicking <kbd class="menu">Track > Add Track, Bus or VCA...</kbd>.
+ bus or VCA, as in clicking <kbd class="menu">Track > Add Track, Bus or VCA…</kbd>.
</p>
To remove a subgroup (bus), context-click on the track group tab, and select
<kbd class="menu">Remove subgroup bus</kbd>. You can also simply delete the
bus itself. Note that this operation will <strong>not</strong> 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.
</p>
-
<img src="/images/summary.png" alt="Ardour's Summary">
<p>
</p>
<p class="note">
- Notice what happened: The second tempo was changed.<br />
+ Notice what happened: The second tempo was changed.<br>
You had set a musical position for the second tempo marker. It was not aligned with the frame you wanted, so you dragged the BBT ruler, making the second tempo provide enough pulses over the ramp for 4|1|0 to align with the desired frame.
</p>
Audio locked meters can be useful when composing, as they allow a continuous piece of music to be worked on in isolated segments, preventing the listening fatigue of a fixed form. Reassembly is left as an excercise for the reader.
</p>
-
-
-<p>Tempo and meter belong together. without both, there is no way to know where a beat lies in time.</p>
+<p>
+ Tempo and meter belong together. without both, there is no way to know where a beat lies in time.
+</p>
-<p>Tempo provides a musical pulse, which is divided into beats and bars by a meter.
- When you change tempo or move an audio-locked meter, all objects on the timeline that are glued to bars and beats (locations, regions) will move in sympathy.
+<p>
+ Tempo provides a musical pulse, which is divided into beats and bars by a meter. When you change tempo or move an audio-locked meter, all objects on the timeline that are glued to bars and beats (locations, regions) will move in sympathy.
</p>
-<p class="note">When performing meter or tempo operations, it is advised that you show the BBT ruler (available by right-clicking an existing marker or ruler name),
- and ensure that the constraint modifier is set (in Preferences->User Interaction) so that no other modifiers share its key combination.<br>
- The constraint modifier is the "Constrain drags using : " setting under the "When Beginning a Drag" heading. One viable setting is <kbd class="mod1"></kbd><kbd class="mod3"></kbd>.
+
+<p class="note">
+ When performing meter or tempo operations, it is advised that you show the BBT ruler (available by right-clicking an existing marker or ruler name), and ensure that the constraint modifier is set (in Preferences->User Interaction) so that no other modifiers share its key combination.<br>
+ The constraint modifier is the "Constrain drags using: " setting under the "When Beginning a Drag" heading. One viable setting is <kbd class="mod1"></kbd><kbd class="mod3"></kbd>.
</p>
<h3>Tempo</h3>
-<p>Tempo can be adjusted in several ways:
-
-<ul><li>by double clicking on a tempo marker.
-This opens the tempo dialog which will allow you to enter the tempo directly into an entry box.
-</li>
-
-<li> by using the constraint modifier (which is set in Preferences->User Interaction) to drag the beat/bars in the BBT ruler or the tempo/meter lines.
-This is the preferred way to match the tempo to previously recorded material.</li>
-<p class ="note">
- NOTE - When dragging the BBT ruler, musical snap has no effect, however be warned that non-musical snap is in effect if enabled.
- Snapping to a minute while dragging a beat may result in some verly slow tempos.
- Snapping a beat to a video frame however is an incredibly useful way to ensure your soundtrack is punchy and synchronised to the sample.
-</p>
-<li>by holding down the constaint modifier while dragging a tempo vertically.
-This is used for more complex tempo solving, as it allows you to change the position and tempo of a tempo marker in the same drag,
-it is, however, a useful way to adjust the first tempo for a quick result.
-</li></ul>
-</p>
-<p>A tempo may be locked to audio or musical time. You may change this by right-clicking on a tempo.
-If a tempo is locked to music, an entry will be available to lock it to audio.
-Similarly an audio-locked tempo may be locked to music by right clicking it an selecting the "Lock to Music" entry.
-</p>
-<p>Audio locked tempo marks stay in their frame position as their neigbours positions are altered. Their pulse (musical) position will change as their neighbours move.
-Music locked tempo marks move their frame position as their neighbours are moved, but keep their pulse position (they will move as the music is moved).
-</p>
-<br>
-<p>A tempo may be remped or constant.
-
- <ul>
- <li>A constant tempo will keep the sesion tempo constant until the next tempo section, at which time it will jump instantly to the next tempo.
- These are mostly useful abrupt changes, and is the way in which traditional DAWs deal with tempo changes (abrupt jumps in tempo).
- <br>
- </li>
-
- <li>A ramped tempo increases its tempo over time so that when the next tempo section has arrived, the sesion tempo is the same as the second one.
-This is useful for matching the session tempo to music which has been recorded without a metronome.
-Ramps may also be used as a compositional tool, but more on this later.
-Note that a ramp requires two points - a start and an end tempo. The first tempo in a new session is ramped, but appears to be constant as it has no tempo to ramp to. It is only when you add a new tempo and adjust one of them that you will hear a ramp.
- The same applies to the last tempo in the session - it will always appear to be constant until a new last tempo is added and changed.
- </li>
- </ul>
-</p>
-<br>
+
<p>
- <img src="/images/constant-tempo.png" alt="A constant tempo displaying the tempo at the playhead in the audio clock">
- <br>
- A series of constant tempo markers. The tempo at the playhead position is the same as the previous tempo.
+ Tempo can be adjusted in several ways:
</p>
-<br>
+
+<ul>
+ <li>by double clicking on a tempo marker. This opens the tempo dialog which will allow you to enter the tempo directly into an entry box.</li>
+ <li>by using the constraint modifier (which is set in Preferences->User Interaction) to drag the beat/bars in the BBT ruler or the tempo/meter lines. This is the preferred way to match the tempo to previously recorded material.</li>
+
+ <p class ="note">
+ When dragging the BBT ruler, musical snap has no effect, however be warned that non-musical snap is in effect if enabled. Snapping to a minute while dragging a beat may result in some verly slow tempos. Snapping a beat to a video frame however is an incredibly useful way to ensure your soundtrack is punchy and synchronised to the sample.
+ </p>
+
+ <li>by holding down the constaint modifier while dragging a tempo vertically. This is used for more complex tempo solving, as it allows you to change the position and tempo of a tempo marker in the same drag, it is, however, a useful way to adjust the first tempo for a quick result.</li>
+</ul>
+
<p>
- <img src="/images/ramped-tempo.png" alt="A ramped tempo displaying the tempo at the playhead in the audio clock">
- <br>
- A ramped tempo marker. The tempo at the playhead position is approaching the second tempo. Because the playhead is equidistant (in beats) between the
- two markers, the tempo at the playhead is the average of the two.
-</p>
-<br>
-<p>To add a new tempo, use the primary modifier and click on the tempo line at the desired position.
-The new tempo will be the same as the tempo at the position of the mouse click (it will not change the shape of the ramp).
+ A tempo may be locked to audio or musical time. You may change this by right-clicking on a tempo. If a tempo is locked to music, an entry will be available to lock it to audio. Similarly an audio-locked tempo may be locked to music by right clicking it an selecting the "Lock to Music" entry.
</p>
-<p>To copy a tempo, hold down the primary modifier and drag the tempo you wish to copy.</p>
-<h3>Meter</h3>
-<p>Meter positions beats using the musical pulse of a tempo, and groups them into bars using its number of divisions per bar.
-</p>
-<p>The first meter in a new session may be moved freely. It has an associated tempo which cannot be dragged by itself (although all others can).
-It can be moved freely and is locked to audio.
-</p>
-<p>New meters are locked to music.
-They may only occur on a bar line if music locked.
-</p>
<p>
-An audio locked meter provides a way to cope with musical passages which have no meter (rubato, pause), or to allow a film composer to insert
-a break in music which cannot be counted in beats.
+ Audio locked tempo marks stay in their frame position as their neigbours positions are altered. Their pulse (musical) position will change as their neighbours move. Music locked tempo marks move their frame position as their neighbours are moved, but keep their pulse position (they will move as the music is moved).
</p>
-<p>If a meter is audio-locked, its bar number is fixed from the point at which it left the main score.
-That bar number cannot be changed, nor can tempo motion allow the previous bar to overlap.
-If you need another bar, lock the meter to music again (right click->"Lock to Music"), drag the meter to the desired bar and re-lock to audio.
- You may now drag your new bar freely again.
- </p>
-<br>
-<li>To change a meter, double click it. A dialog will appear.</li>
-<br>
-<li>To copy a meter, hold down <kbd class="mod1"></kbd> and drag it.</li>
-<h3>Techniques </h3>
-<p>As a general approach, the best way to control tempo ramps is to use them in pairs.
-</p>
-<p>Lets imagine we want to match the click to a drum performance recorded in 'free time'.<br>
-The first thing we need to do is determine where the first beat is. Drag the first meter to that position.
-</p>
-<p>Now the first click will be in time with the first beat. To get all the other beats to align, we listen to the drums
-and visually locate the position of bar 4. You may wish to place the playhead here.
-</p>
-<p>We then locate bar 4 in the bbt ruler and while holding the constraint modifier, drag it to bar 4 in the drum performance.
-</p>
-<p>We notice that the click now matches the first 4 bars, but after that it wanders off.
-You will see this reflected in the tempo lines.. they won't quite match the drum hits.
-We now locate the earliest position where the click doesn't match, and place a new tempo just before this.
-Two bars later, place another new tempo.
-</p>
-<p>Now while dragging any beat <strong>after</strong> the second new tempo, watch the drum audio and tempo lines until they align.
-</p>
-<p class="note">Notice what is happeneing here: the tempo previous to your mouse pointer is being changed so that the beat you grabbed
-aligns with the pointer.
-Notice that the tempo lines previous to the changed one also move. This is because the previous tempo is ramping <strong>to</strong> the tempo you are changing.
-Look further to the left. The tempo lines in the first four bars do not move.
-</p>
-<p>Again, some time later the click will not align. I didn't say this was easy.
+<p>
+ A tempo may be remped or constant.
</p>
-<p>Repeat the same technique : add two new tempos and drag the BBT ruler <strong>after</strong> the newest tempo so that the beats align with the audio again.
-</p>
+<ul>
+ <li>A constant tempo will keep the sesion tempo constant until the next tempo section, at which time it will jump instantly to the next tempo. These are mostly useful abrupt changes, and is the way in which traditional DAWs deal with tempo changes (abrupt jumps in tempo).</li>
+ <li>A ramped tempo increases its tempo over time so that when the next tempo section has arrived, the sesion tempo is the same as the second one. This is useful for matching the session tempo to music which has been recorded without a metronome. Ramps may also be used as a compositional tool, but more on this later. Note that a ramp requires two points—a start and an end tempo. The first tempo in a new session is ramped, but appears to be constant as it has no tempo to ramp to. It is only when you add a new tempo and adjust one of them that you will hear a ramp. The same applies to the last tempo in the session—it will always appear to be constant until a new last tempo is added and changed.</li>
+</ul>
-<p>In a general sense, adding tempo markers in pairs allows you to 'pin' your previous work while you move further to the right.
+<p>
+ <img src="/images/constant-tempo.png" alt="A constant tempo displaying the tempo at the playhead in the audio clock">
+
+ A series of constant tempo markers. The tempo at the playhead position is the same as the previous tempo.
</p>
-<h3>Another use case : matching accelerando</h3>
-<p>Imagine you have some video and have located where your music cue begins. Move the first meter to that frame
-(you may snap to TC frames, but not music with an audio locked meter).
+
+<p>
+ <img src="/images/ramped-tempo.png" alt="A ramped tempo displaying the tempo at the playhead in the audio clock">
+
+ A ramped tempo marker. The tempo at the playhead position is approaching the second tempo. Because the playhead is equidistant (in beats) between the two markers, the tempo at the playhead is the average of the two.
</p>
+
<p>
- Find a starting tempo by listening to the click while you drag the meter's tempo vertically using teh constraint modifier.
- </p>
+ To add a new tempo, use the primary modifier and click on the tempo line at the desired position. The new tempo will be the same as the tempo at the position of the mouse click (it will not change the shape of the ramp).
+</p>
-<p>You have the playhead at point where the dude slams the phone down, and your idea was that 4|1|0
-would be good for this, but you want an accelerando to that point.
+<p>
+ To copy a tempo, hold down the primary modifier and drag the tempo you wish to copy.
</p>
+
+<h3>Meter</h3>
+
<p>
- Add a tempo ar bar 4.
+ Meter positions beats using the musical pulse of a tempo, and groups them into bars using its number of divisions per bar.
</p>
-<p>Holding down the constraint modifier, and with snap set to 'TC Frames', grab the BBT ruler just <strong>after</strong> 4|1|0.
-Drag the ruler so that 4|1|0 snaps to the 'phone' frame.
+
+<p>
+ The first meter in a new session may be moved freely. It has an associated tempo which cannot be dragged by itself (although all others can). It can be moved freely and is locked to audio.
</p>
-<p class="note">Notice what happened : The second tempo was changed.<br>
-You had set a musical position for the second tempo marker. It was not aligned with the frame you wanted, so
-you dragged the BBT ruler, making the second tempo provide enough pulses over the ramp for 4|1|0 to align with the desired frame.
+
+<p>
+ New meters are locked to music. They may only occur on a bar line if music locked.
</p>
-<p>If your ramp doesn't feel correct, you may add more points within it and keep adjusting beat positions in a similar manner.
+
+<p>
+ An audio locked meter provides a way to cope with musical passages which have no meter (rubato, pause), or to allow a film composer to insert a break in music which cannot be counted in beats.
</p>
-<h3>General</h3>
-<p>Audio locked meters can be useful when composing, as they allow a continuous piece of music to be worked on in
-isolated segments, preventing the listening fatigue of a fixed form.
-Reassembly is left as an excercise for the reader.
+<p>
+ If a meter is audio-locked, its bar number is fixed from the point at which it left the main score. That bar number cannot be changed, nor can tempo motion allow the previous bar to overlap. If you need another bar, lock the meter to music again (right click->"Lock to Music"), drag the meter to the desired bar and re-lock to audio. You may now drag your new bar freely again.
</p>
+<li>To change a meter, double click it. A dialog will appear.</li>
+
+<li>To copy a meter, hold down <kbd class="mod1"></kbd> and drag it.</li>
+
-
-
<p>
-
The region list shows all the regions in the session. The left-hand column gives the region name, and there are a range of times given for information:
-
</p>
-
-
<dl>
-
<dt>Position</dt><dd>position of the start of the region on the global timeline</dd>
-
<dt>End</dt><dd>position of the region on the global timeline</dd>
-
<dt>Length</dt><dd>duration of the region</dd>
-
<dt>Sync</dt><dd>position of the sync point, relative to the start of region (can be negative)</dd>
-
<dt>Fade In</dt><dd>duration of the fade in. Can't be less than 1 ms, to avoid clipping.</dd>
-
<dt>Fade Out</dt><dd>duration of the fade out (positive value, ≥ 1 ms).</dd>
-
</dl>
-
-
<p>
-
The units used to display those times are those used for the clock, so changing the units on the clocks change the display of this values.
-
</p>
-
-
<p>
-
At the right of the list are four columns of flags that can be altered:
-
</p>
-
-
<dl>
-
<dt>L</dt>
-
<dd>whether the region position is locked, so that it cannot be moved.</dd>
-
<dt>G</dt>
-
<dd>whether the region's position is ‘glued’ to bars and beats. If so, the region will stay at the same position in bars and beats even if the tempo and/or time signature change.</dd>
-
<dt>M</dt>
-
<dd>whether the region is muted, so that it will not be heard.</dd>
-
<dt>O</dt>
-
<dd>whether the region is opaque; opaque regions ‘block’ regions below them from being heard, whereas ‘transparent’ regions have their contents mixed with whatever is underneath. </dd>
-
</dl>
-
-
<p>
-
Hovering the mouse pointer over a column heading shows a tool-tip which can be handy to remember what the columns are for.
-
</p>
-
-
<p>
-
A handy feature of the region list is that its regions can be dragged and dropped into a suitable track in the session.
-
</p>
<dt>Insert Region from Region List</dt><dd>If a region is selected in the Editor List, add it at the Edit point</dd>
<dt>Play</dt><dd>Starts playback at the beginning of the selected region(s), and stops at its(their) end</dd>
<dt>Loop</dt><dd>Creates a loop range on the selected region's boundaries, and starts the looped playback</dd>
- <dt>Rename...</dt><dd>Changes the name of the region, that appears in its top left area</dd>
- <dt>Properties...</dt><dd>Shows the <kbd class="menu">Region properties</kbd> window, that displays detailed information about the region and allow for some modifications</dd>
- <dt>Loudness Analysis
...</dt><dd>Shows the <kbd class="menu">Audio Report/Analysis</kbd> window, that displays detailed <a href="/meters/">dBFS information</a> as well as a spectrogram (dBFS of frequency against time)</dd>
- <dt>Spectral Analysis...</dt><dd>Shows the <kbd class="menu">Audio Report/Analysis</kbd> window, that displays a integrated spectral view of the region (dBFS agaisnt frequency)</dd>
+ <dt>Rename…</dt><dd>Changes the name of the region, that appears in its top left area</dd>
+ <dt>Properties…</dt><dd>Shows the <kbd class="menu">Region properties</kbd> window, that displays detailed information about the region and allow for some modifications</dd>
+ <dt>Loudness Analysis
…</dt><dd>Shows the <kbd class="menu">Audio Report/Analysis</kbd> window, that displays detailed <a href="/meters/">dBFS information</a> as well as a spectrogram (dBFS of frequency against time)</dd>
+ <dt>Spectral Analysis…</dt><dd>Shows the <kbd class="menu">Audio Report/Analysis</kbd> window, that displays a integrated spectral view of the region (dBFS agaisnt frequency)</dd>
<dt>Edit</dt>
<dt class="sub1">Combine</dt><dd>Creates a new region by joining the selected audio regions in the same track, and replaces those region with the newly created compound. The same rules are applied to create the compound as for playback regarding e.g. layering</dd>
<dt class="sub1">Uncombine</dt><dd>Splits back the compound created by <em>combining</em> into its original audio regions</dd>
- <dt class="sub1">Pitch Shift...</dt><dd>Changes the tune of the audio region, by octave, semitones or percentage, based on spectral analysis. Optionaly, and if they have been set for the region, preserves the formants</dd>
+ <dt class="sub1">Pitch Shift…</dt><dd>Changes the tune of the audio region, by octave, semitones or percentage, based on spectral analysis. Optionaly, and if they have been set for the region, preserves the formants</dd>
<dt class="sub1">Split/Separate</dt><dd>Cuts the selected regions at the Edit point, separating them in two regions</dd>
<dt class="sub1">Split at Percussion Onset</dt><dd>Allows splitting the selected regions on its PErcussion Onsets marker as set by the Rhythm Ferret (Not usable as of 5.5)</dd>
<dt class="sub1">Make Mono Regions</dt><dd>Creates mono regions out of a stereo or multichannel region by splitting it into its discrete channels. The created regions are added to the Editor List</dd>
<dt class="sub1">Close Gaps</dt><dd>Extends (or reduces) the selected regions to be perfecltly aligned. Optionnaly, sets up a crossfade duration, or a pull-back (spacing between regions)</dd>
- <dt class="sub1">Place Transient</dt><dd>Places a transient at the Edit Point. Used e.g. for the <kbd class="menu">Pitch Shift...</kbd> action</dd>
- <dt class="sub1">Rhythm Ferret...</dt><dd>Opens the <kbd class="menu">Rhythm Ferret</kbd> which is a powerfull tool to sequence audio files</dd>
- <dt class="sub1">Strip Silence...</dt><dd>Opens the <kbd class="menu">Strip Silence</kbd> window which is a very handy tool to remove all audio under a user-chosen threshold (with a preview)</dd>
+ <dt class="sub1">Place Transient</dt><dd>Places a transient at the Edit Point. Used e.g. for the <kbd class="menu">Pitch Shift…</kbd> action</dd>
+ <dt class="sub1">Rhythm Ferret…</dt><dd>Opens the <kbd class="menu">Rhythm Ferret</kbd> which is a powerfull tool to sequence audio files</dd>
+ <dt class="sub1">Strip Silence…</dt><dd>Opens the <kbd class="menu">Strip Silence</kbd> window which is a very handy tool to remove all audio under a user-chosen threshold (with a preview)</dd>
<dt class="sub1">Reverse</dt><dd>Mirrors the audio horizontally</dd>
<dt>Layering</dt>
<dt class="sub1">Raise to Top</dt><dd>On overlapping regions, puts the selected one(s) on top</dd>
<dt class="sub1">Lower</dt><dd>Makes the selected region(s) one layer lower</dd>
<dt class="sub1">Lower to Bottom</dt><dd>Sends the selected region to the background</dd>
<dt>MIDI</dt>
- <dt class="sub1">Transpose
...</dt><dd>On a MIDI region, shows the <a href="/working-with-midi/transpose-midi/"><kbd class="menu">Transpose MIDI</kbd> window</a>, allowing to shift the pitch of the whole MIDI region by ± <em>n</em> semitones or octaves</dd>
- <dt class="sub1">Insert Patch Change...</dt><dd>Inserts a patch change at the Edit Point, allowing a change of patch, channel, program and/or bank</dd>
- <dt class="sub1">Quantize
...</dt><dd>Shows the <a href="/working-with-midi/quantize-midi/"><kbd class="menu">Quantize</kbd> window</a>, allowing to perfectly align the MIDI notes to the musical grid</dd>
+ <dt class="sub1">Transpose
…</dt><dd>On a MIDI region, shows the <a href="/working-with-midi/transpose-midi/"><kbd class="menu">Transpose MIDI</kbd> window</a>, allowing to shift the pitch of the whole MIDI region by ± <em>n</em> semitones or octaves</dd>
+ <dt class="sub1">Insert Patch Change…</dt><dd>Inserts a patch change at the Edit Point, allowing a change of patch, channel, program and/or bank</dd>
+ <dt class="sub1">Quantize
…</dt><dd>Shows the <a href="/working-with-midi/quantize-midi/"><kbd class="menu">Quantize</kbd> window</a>, allowing to perfectly align the MIDI notes to the musical grid</dd>
<dt class="sub1">Legatize</dt><dd>Shortens or elongates the MIDI notes to make them perfectly sequentials, i.e. the end of a note is the start of the following one</dd>
<dt class="sub1">Remove Overlap</dt><dd>FIXME Shortens or elongates the MIDI notes to make them perfectly sequentials, i.e. the end of a note is the start of the following one</dd>
- <dt class="sub1">Transform
...</dt><dd><a href="/working-with-midi/transformation-midi/"><kbd class="menu">Transform</kbd> window</a>, that allows for mathematical operations on the midi notes</dd>
+ <dt class="sub1">Transform
…</dt><dd><a href="/working-with-midi/transformation-midi/"><kbd class="menu">Transform</kbd> window</a>, that allows for mathematical operations on the midi notes</dd>
<dt class="sub1">Unlink from Other copies</dt><dd>Makes the selected MIDI region independant, e.g. editing this region won't affect any other one.</dd>
- <dt class="sub1">List Editor...</dt><dd>Shows the <kbd class="menu">List Editor</kbd> which sequentially lists all the MIDI events in the region, and allows for precise modifications</dd>
+ <dt class="sub1">List Editor…</dt><dd>Shows the <kbd class="menu">List Editor</kbd> which sequentially lists all the MIDI events in the region, and allows for precise modifications</dd>
<dt>Gain</dt>
<dt class="sub1">[] Opaque</dt><dd>When checked, makes the region opaque audio-wise, i.e., the underlying regions won't be audible</dd>
<dt class="sub1">[] Mute</dt><dd>When checked, mutes <em>only</em> the selected region on the track, without muting the track. The muted regions will have <em>!!</em> prepended to their name and will be semi-transparent</dd>
- <dt class="sub1">Normalize...</dt><dd>Shows the <kbd class="menu">Normalize region</kbd> dialog, which allows to scale the region level by setting its maximum level, optionaly constraining the RMS</dd>
+ <dt class="sub1">Normalize…</dt><dd>Shows the <kbd class="menu">Normalize region</kbd> dialog, which allows to scale the region level by setting its maximum level, optionaly constraining the RMS</dd>
<dt class="sub1">Boost Gain</dt><dd>Increases the gain on the selected region by boosting the audio, without touching the enveloppe or automation</dd>
<dt class="sub1">Cut Gain</dt><dd>Reduces the gain without touching the enveloppe or automation</dd>
<dt class="sub1">Reset Envelope</dt><dd>If the gain enveloppe has been edited, resets it to its initial value (constant at 0 dB)</dd>
<dt class="sub1">[] Fades</dt><dd>Shortcut to activate/desactivate both the fade in and fade out</dd>
<dt>Duplicate</dt>
<dt class="sub1">Duplicate</dt><dd>Creates a copy of the selected region(s) and happend it to the original</dd>
- <dt class="sub1">Multi-Duplicate...</dt><dd>Shows the <kbd class="menu">Duplicate</kbd> dialog, allowing to create multiple copies, or a not-integer number of copies (the last one will then be truncated)</dd>
+ <dt class="sub1">Multi-Duplicate…</dt><dd>Shows the <kbd class="menu">Duplicate</kbd> dialog, allowing to create multiple copies, or a not-integer number of copies (the last one will then be truncated)</dd>
<dt class="sub1">Fill Track</dt><dd>Creates duplicates until it fills the session, i.e. reaches the End marker of the session. The last duplicate may be truncated to fit in</dd>
- <dt>Export
...</dt><dd>Shows the <a href="/exporting/export-dialog/"><kbd class="menu">Export</kbd> dialog</a>, with all parameters set to export only the selected region(s)</dd>
+ <dt>Export
…</dt><dd>Shows the <a href="/exporting/export-dialog/"><kbd class="menu">Export</kbd> dialog</a>, with all parameters set to export only the selected region(s)</dd>
<dt>Bounce (without processing)</dt><dd>Creates a bounce, i.e. a version of the region with all the edits (boundaries, enveloppe), as a new region in the Editor List, without any of the effects of the mixer strip</dd>
<dt>Bounce (with processing)</dt><dd>Same as above, <em>with</em> the effects of the mixer strip</dd>
a sound is generated and when you can hear it. When the audio signal
flows through a computer, that means that the computer has to be able to
receive the signal, process it and send it back out again as fast as
- possible.<br />
+ possible.<br>
And that is where it becomes very important <em>what</em> computer system
you have, because it is <strong>absolutely not</strong> the case that any
computer can do this job well.
<dt><abbr title="Central Processing Unit">CPU</abbr> speed control</dt>
<dd>Handling audio with low latency requires that your processor keeps
running at its highest speed at all times. Many portable systems try to
- regulate processor speed in order to save power — for low latency
+ regulate processor speed in order to save power—for low latency
audio, you want this totally disabled, either in the BIOS or at the OS
level.</dd>
<dt>Excessive Interrupt Sharing</dt>
<dd>SMIs are interrupts sent by the motherboard to tell the computer
about the state of various hardware. They cannot safely be disabled,
but they can also take a relatively long time to process. It is better
- to have a motherboard which never sends SMIs at all — this is
+ to have a motherboard which never sends SMIs at all—this is
also a requirement for realtime stock trading systems, which have
similar issues with latency.</dd>
<dt>Hyperthreading</dt>
</p>
<dl>
- <dt>New
...</dt><dd>Creates a <a href="/working-with-sessions/new-session-dialog/">new</a> session</dd>
- <dt>Open...</dt><dd>Opens an existing session</dd>
- <dt>Recent...</dt><dd>Opens a list of recent session that can be opened</dd>
+ <dt>New
…</dt><dd>Creates a <a href="/working-with-sessions/new-session-dialog/">new</a> session</dd>
+ <dt>Open…</dt><dd>Opens an existing session</dd>
+ <dt>Recent…</dt><dd>Opens a list of recent session that can be opened</dd>
<dt>Close</dt><dd>Closes the current session (but not Ardour)</dd>
<dt>Save</dt><dd>Saves the current session</dd>
- <dt>Save As...</dt><dd>Saves to a new session (with options)</dd>
- <dt>Rename...</dt><dd>Changes the name of the session</dd>
- <dt>Snapshot (keep working on current version)
...</dt><dd>Create a <a href="/working-with-sessions/snapshots/">Snapshot</a> but any subsequent change will be saved to this session</dd>
- <dt>Snapshot ( switch to new version) ...</dt><dd>Same thing, and any subsequent change will be saved to this new snapshot session</dd>
- <dt>Save Template
...</dt><dd>Saves the session as a <a href="/working-with-sessions/session-templates/">template</a>, without the audio</dd>
+ <dt>Save As…</dt><dd>Saves to a new session (with options)</dd>
+ <dt>Rename…</dt><dd>Changes the name of the session</dd>
+ <dt>Snapshot (keep working on current version)
…</dt><dd>Create a <a href="/working-with-sessions/snapshots/">Snapshot</a> but any subsequent change will be saved to this session</dd>
+ <dt>Snapshot ( switch to new version) …</dt><dd>Same thing, and any subsequent change will be saved to this new snapshot session</dd>
+ <dt>Save Template
…</dt><dd>Saves the session as a <a href="/working-with-sessions/session-templates/">template</a>, without the audio</dd>
<dt>Metadata</dt>
- <dt class="sub1">Edit Metadata
...</dt><dd>Opens the <a href="/working-with-sessions/metadata/">Metadata</a> window, where informations about the session can be saved</dd>
- <dt class="sub1">Import Metadata...</dt><dd>Creates the metadata by extracting them from another session</dd>
+ <dt class="sub1">Edit Metadata
…</dt><dd>Opens the <a href="/working-with-sessions/metadata/">Metadata</a> window, where informations about the session can be saved</dd>
+ <dt class="sub1">Import Metadata…</dt><dd>Creates the metadata by extracting them from another session</dd>
- <dt>Add Track, Bus or VCA...</dt><dd>Adds a <a href="/working-with-tracks/adding-tracks-and-busses/">new track/bus/VCA</a> to the session, same as the <kbd class="menu">Track > Add Track, Bus or VCA...</kbd></dd>
+ <dt>Add Track, Bus or VCA…</dt><dd>Adds a <a href="/working-with-tracks/adding-tracks-and-busses/">new track/bus/VCA</a> to the session, same as the <kbd class="menu">Track > Add Track, Bus or VCA…</kbd></dd>
<dt>Import</dt><dd>Opens the <a href="/adding-pre-existing-material/">Import</a> windows, to add media to the session</dd>
<dt>Import PT session</dt><dd>Import a ProTools© session file. Not everything in the original session can be imported.</dd>
<dt>Scripting</dt>
- <dt class="sub1">Add Lua Script
...</dt><dd>Loads or adds a <a href="/lua-scripting/">Lua Session script</a> to the current session</dd>
+ <dt class="sub1">Add Lua Script
…</dt><dd>Loads or adds a <a href="/lua-scripting/">Lua Session script</a> to the current session</dd>
<dt class="sub1">Remove Lua Script</dt><dd>Removes a loaded Lua Session script from the session</dd>
- <dt>Open Video
...</dt><dd>Imports a <a href="/video-timeline/">video file</a> in the session</dd>
+ <dt>Open Video
…</dt><dd>Imports a <a href="/video-timeline/">video file</a> in the session</dd>
<dt>Remove Video</dt><dd>Removes the video part of the session (the video timeline disappears)</dd>
<dt>Export</dt>
- <dt class="sub1">Export to Audio File(s)
...</dt><dd><a href="/exporting/">Export</a> all or part of the session in audio form</dd>
- <dt class="sub1">Stem export
...</dt><dd><a href="/exporting/export-dialog/">Exports each track</a> as its own audio file (for e.g. DAW interchange)</dd>
+ <dt class="sub1">Export to Audio File(s)
…</dt><dd><a href="/exporting/">Export</a> all or part of the session in audio form</dd>
+ <dt class="sub1">Stem export
…</dt><dd><a href="/exporting/export-dialog/">Exports each track</a> as its own audio file (for e.g. DAW interchange)</dd>
<dt class="sub1">Export to Video File</dt><dd>Exports the session to a <a href="/video-timeline/operations/">video file</a></dd>
<dt>Clean-Up</dt>
<dt class="sub1">Bring all media into session folder</dt><dd>Copies all the media files imported from outside the session folder in that folder, see <a href="/working-with-sessions/cleaning_up/">Cleaning up Sessions</a></dd>
<dt class="sub1">Reset Peak Files</dt><dd>Reinitializes the buffered images representing the audio files</dd>
- <dt class="sub1">Clean-up Unused Sources...</dt><dd>Quarantines all the media files not used in the session to a specific subfolder of the session</dd>
+ <dt class="sub1">Clean-up Unused Sources…</dt><dd>Quarantines all the media files not used in the session to a specific subfolder of the session</dd>
<dt class="sub1">Flush Wastebasket</dt><dd>Deletes those quarantined files</dd>
<dt>[] Properties</dt><dd>Shows the <a href="/preferences-and-session-properties/session-properties-dialog/">Session Properties</a> dialog, allowing to fine-tune the parameters of the current session</dd>
-
-
<p>
-
- This list gives the snapshots that exist of this session. Clicking on a snapshot
-
- name will load that snapshot.
-
+ This list gives the snapshots that exist of this session. Clicking on a snapshot name will load that snapshot.
</p>
-
-
<p>
-
- See <a href="/working-with-sessions/">Working with Sessions</a> for more
-
- information on snapshots.
-
+ See <a href="/working-with-sessions/">Working with Sessions</a> for more information on snapshots.
</p>
-
-
<p>
-
This shows the track/bus groups that exist in the session. These groups allow related tracks to share various properties (such as mute or record enable state). For full details, see the section called <a href="/working-with-tracks/track-and-bus-groups/">Track and Bus Groups</a>.
-
</p>
-
-
<p>
-
The columns in this list are as follows:
-
</p>
-
-
<dl>
-
<dt>Col</dt>
-
<dd>the colour that the group uses for its tab in the editor.</dd>
-
<dt>Name</dt>
-
<dd>the group name.</dd>
-
<dt>V</dt>
-
<dd>whether the tracks and busses in the group are visible.</dd>
-
<dt>On</dt>
-
<dd>whether the group is enabled.</dd>
-
<dt>G</dt>
-
<dd>ticked if the constituents of the group are sharing gain settings.</dd>
-
<dt>Rel</dt>
-
<dd>ticked if shared gains are relative.</dd>
-
<dt>M</dt>
-
<dd>ticked if the constituents share mute status.</dd>
-
<dt>S</dt>
-
<dd>ticked if the constituents share solo status.</dd>
-
<dt>Rec</dt>
-
<dd>ticked if the constituents share record-enable status.</dd>
-
<dt>Mon</dt>
-
<dd>whether the constituents share monitor settings.</dd>
-
<dt>Sel</dt>
-
<dd>whether the constituents are selected together.</dd>
-
<dt>A</dt>
-
<dd>whether the constituents share active status. </dd>
-
</dl>
</p>
<dl>
- <dt>Add Track, Bus or VCA...</dt><dd>Shows the <a href="/working-with-tracks/adding-tracks-and-busses/"><kbd class="menu">Add Track, Bus or VCA...</kbd> window</a>, where one can add one or more tracks, busses or control masters to the session and define its parameters</dd>
- <dt>Duplicate Tracks/Busses...</dt><dd>Shows the <kbd class="menu">Duplicate Tracks and Busses</kbd> window, allowing to duplicate the selected track(s) and optionnaly, its playlist</dd>
+ <dt>Add Track, Bus or VCA…</dt><dd>Shows the <a href="/working-with-tracks/adding-tracks-and-busses/"><kbd class="menu">Add Track, Bus or VCA…</kbd> window</a>, where one can add one or more tracks, busses or control masters to the session and define its parameters</dd>
+ <dt>Duplicate Tracks/Busses…</dt><dd>Shows the <kbd class="menu">Duplicate Tracks and Busses</kbd> window, allowing to duplicate the selected track(s) and optionnaly, its playlist</dd>
<dt>Toggle Record Enable</dt><dd>Sets the Record Enable mode On on the selected track(s). These tracks will record audio/midi next time the global record is active and playback is started.</dd>
<dt>Toggle Solo</dt><dd>Sets the solo On on the selected tracks, so only these tracks will play</dd>
-
-
<p>
-
This lists the tracks and busses that are present in the session. The list order reflects the order in the editor, and you can drag-and-drop track or bus names in the editor list to re-order them in the editor. The columns in the list represent the following:
-
</p>
-
-
<dl>
-
<dt id="visible">V</dt>
-
<dd>whether the track or bus is visible; they can be hidden, in which case they will still play, but just not be visible in the editor; this can be useful for keeping the display uncluttered.</dd>
-
<dt id="active">A</dt>
-
<dd>whether the track or bus is active; unactive tracks will not play, and will not consume any CPU.</dd>
-
<dt id="input">I</dt>
-
<dd>for MIDI tracks, whether the MIDI input is enabled; this dictates whether MIDI data from the track's inputs ports will be passed through the track.</dd>
-
<dt id="record">R</dt>
-
<dd>whether the track is record-enabled.</dd>
-
<dt id="record-safe">RS</dt>
-
<dd>whether the track is record safe; a record safe track cannot be armed for recording, to protect against a mistake.</dd>
-
<dt id="mute">M</dt>
-
<dd>whether the track is muted.</dd>
-
<dt id="solo">S</dt>
-
<dd>track solo state.</dd>
-
<dt id="solo-isolated">SI</dt>
-
<dd>track solo-isolated state.</dd>
-
<dt id="solo-safe">SS</dt>
-
<dd>solo safe state. </dd>
-
</dl>
-
-
<p class="note">
-
Each icon in these columns can be clicked to toggle the track/bus state, which is a very fast way to set multiple tracks/busses state at once.
-
</p>
-
-
<p>
-
As with the region list, hovering the mouse pointer over a column heading shows a tool-tip which can be handy to remember what the columns are for.
-
</p>
<dt>Active Mark</dt>
<dt class="sub1">To Next Region Boundary</dt><dd>Moves the currently selected <a href="/working-with-markers/">marker</a> to the next region beginning or end</dd>
<dt class="sub1">To Previous Region Boundary</dt><dd>Same, to the left</dd>
- <dt class="sub1">To Next Region Sync</dt><dd>Moves the currently selected to the next region sync point (by default : beginning or end of the region)</dd>
+ <dt class="sub1">To Next Region Sync</dt><dd>Moves the currently selected to the next region sync point (by default: beginning or end of the region)</dd>
<dt class="sub1">To Previous Region Sync</dt><dd>Same, to the left</dd>
<dt>Markers</dt><dd></dd>
<dt class="sub1">Add Mark from Playhead</dt><dd>Creates a Marker at the position of the playhead</dd>
<dt class="sub1">Remove Mark at Playhead</dt><dd>Removes any marker at the position of the playhead</dd>
- <dt class="sub1">Toggle Mark at Playhead</dt><dd>Combine the 2 previous : if a marker exists, deletes it, otherwise create it</dd>
+ <dt class="sub1">Toggle Mark at Playhead</dt><dd>Combine the 2 previous: if a marker exists, deletes it, otherwise create it</dd>
<dt class="sub1">Locate to Mark <em>n</em></dt><dd>If it exists, goes to the <em>n-th</em> marker</dd>
<p>
- The <dfn>View</dfn> menu sets how the session is seen, and what's visible or not.
+ The <dfn>View</dfn> menu sets how the session is seen, and what's visible or not.
</p>
<dl>
<dt class="sub1">Samples</dt><dd>Same as for the main clock</dd>
<dt>Zoom</dt>
- <dt class="sub1">Zoom In</dt><dd>Zooms in, focusing the <em>Zoom Focus</em> (see bellow)</dd>
+ <dt class="sub1">Zoom In</dt><dd>Zooms in, focusing the <em>Zoom Focus</em> (see below)</dd>
<dt class="sub1">Zoom Out</dt><dd>Zooms out</dd>
<dt class="sub1">Zoom to Session</dt><dd>Adjust the zoom value so that all the session (as defined by its start and end markers) fit in the window</dd>
<dt class="sub1">Zoom to Selection</dt><dd>Adjust the zoom value so that all the selected regions fit in the window</dd>
<dt class="sub1">Go to View <em>n</em></dt><dd>Loads and displays a saved position (see above)</dd>
<dt>[] Show Editor Mixer</dt><dd>When checked, the selected tracks' mixer strip is displayed on the left of the editor window, allowing for a quick access to e.g. efffects and routing</dd>
- <dt>[] Show Editor List</dt><dd>In the Editor window, shows the <a href="/ardours-interface/editor-lists/">Editor List</a>, giving access to a number of handy lists (regions, tracks, ...)</dd>
- <dt>[] Toggle Mixer List</dt><dd>In the Mixer view, shows the Mixer list, giving access to some handy lists (<a href="/ardours-interface/favorite-plugins-window/">Favorite plugins</a>, <a href="/ardours-interface/the-strips-list/">The Strip list</a>,...)</dd>
+ <dt>[] Show Editor List</dt><dd>In the Editor window, shows the <a href="/ardours-interface/editor-lists/">Editor List</a>, giving access to a number of handy lists (regions, tracks, …)</dd>
+ <dt>[] Toggle Mixer List</dt><dd>In the Mixer view, shows the Mixer list, giving access to some handy lists (<a href="/ardours-interface/favorite-plugins-window/">Favorite plugins</a>, <a href="/ardours-interface/the-strips-list/">The Strip list</a>,…)</dd>
<dt>[] Toggle Monitor Section Visibility</dt><dd>If the <kbd class="option">Use monitoring section on this session</kbd> has been checked in the <a href="/preferences-and-session-properties/session-properties-dialog/monitoring/">Session Properties window</a>, shows pr hide the Monitor Section in the Mixer</dd>
<dt>[] Show Measure Lines</dt><dd>If checked, in the Editor, shows a vertical white lines at each measure start</dd>
<dt>[] Show Summary</dt><dd>If checked, in the Editor, shows the <a href="/ardours-interface/the-summary/">Summary</a>, allowing a faste navigation in the session</dd>
<dt>Meterbridge</dt><dd>Shows the <a href="/meters/"><kbd class="menu">Meterbridge</kbd> window</a>, that displays all the tracks' meter at once and their recording status, and is very handy for multitrack recording</dd>
<dt>Scripting</dt><dd>Opens the <a href="/lua-scripting/"><kbd class="menu">Lua Scripting</kbd> window</a>, allowing to edit and run Lua scripts</dd>
- <dt>[] Tracks and Busses</dt><dd>Opens the <kbd class="menu">Tracks and Busses</kbd> window, which is a shortcut to many tracks/busses operations (routing, effects, ...)</dd>
+ <dt>[] Tracks and Busses</dt><dd>Opens the <kbd class="menu">Tracks and Busses</kbd> window, which is a shortcut to many tracks/busses operations (routing, effects, …)</dd>
<dt>[] Locations</dt><dd><dd>Opens the <a href="/ardours-interface/editor-lists/ranges-and-marks-list/"><kbd class="menu">Ranges and Marks</kbd> window</a>, a single point of control for all range and location markers</dd>
<dt>[] Binding Editor</dt><dd>Opens the <a href="/default-keyboard-bindings/"><kbd class="menu">Key Bindings</kbd> window</a>, which allows for easy creation or modification of any keyboard shortcut</dd>
<dt>[] Bundle Manager</dt><dd>Opens the <kbd class="menu">Bundle Manager</kbd> window, allowing to create and manage <em>Bundles</em>, which are a way to simplify connection management, by defining groups of ports</dd>
Ardour can generate timecode and thus act as timecode <dfn>master</dfn>,
providing timecode information to other applications. Ardour can also be
<dfn>slaved</dfn> to some external source in which case the playhead
- follows the incoming timecode.<br />
+ follows the incoming timecode.<br>
Combining the timecode slave and generator modes, Ardour can also
<dfn>translate</dfn> timecode. e.g create LTC timecode from incoming MTC.
</p>
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 <em>generated</em>. 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.
</p>
specifies 29.97df as 30000/1001 frames per second, not all hardware devices
follow that standard. The checkbox
<kbd class="option">Lock to 29.9700 fps instead of 30000/1001</kbd> allows
- to use a compatibility mode for those devices.<br />
+ to use a compatibility mode for those devices.<br>
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
<abbr title="specification">spec</abbr> 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 <em>not</em> 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
- drift.
+ some vendors use that rate—despite it being against the
+ specs—because the variant of using exactly 29.97 fps yields zero
+ timecode drift.
</p>
<h3>Clock Sync Lock</h3>
<code>ardour:MIDI clock in</code> port.
</p>
-<h3>LTC - Linear Timecode</h3>
+<h3>LTC—Linear Timecode</h3>
<p>
The <dfn>LTC</dfn> slave decodes an incoming LTC signal on a JACK audio
port. It will auto-detect the frame rate and start locking to the signal
The user-bits in the received LTC frame are ignored.
</p>
-<h3>MTC - MIDI Timecode</h3>
+<h3>MTC—MIDI Timecode</h3>
<p>
Ardour's MTC slave parses <dfn>full timecode messages</dfn> as well as
MTC <dfn>quarter-frame messages</dfn> arriving on the
configures Ardour to act as translator from timecode to BBT information.
</p>
-
disable them via <kbd class="optoff">Edit > Preferences > GUI >
Show tooltip if mouse hovers over a control</kbd>.
</p>
-
<p>
Tracks and busses can be put into <dfn>groups</dfn>. 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).
</p>
<ul>
<li>Context-click on the group tab and use one of the <kbd
- class="menu">Create...</kbd> options there. You can create a group with
+ class="menu">Create…</kbd> options there. You can create a group with
no members, or one that starts with the currently selected tracks, or
record-enabled tracks, or soloed tracks.</li>
<li>Alternatively, click the ‘g’ button on a track header to open the
<dl class="wide-table">
<dt>Create a New Group</dt>
<dd>create a new group</dd>
-<dt>Create New Group from...</dt>
-<dd> create a new group and automatically add ...
+<dt>Create New Group from…</dt>
+<dd> create a new group and automatically add …
<dl class="narrower-table">
<dt>Selected</dt>
<dd>all currently selected tracks and busses</dd>
palette, so they should never end up being particularly bright or
particularly dark.
</p>
+
<h2>Changing the color of specific tracks</h2>
+
<p>
Select the tracks whose color you wish to change. Context-click
on the track header of one of them. From the context menu, select
color dialog. Every selected track will be
re-colored.
</p>
+
<p>
Note that if you are only changing one track, context-clicking on
that track's header will be enough to select it, saving the extra
</p>
<h2>Changing the color of all tracks in a group</h2>
+
<p>
Tracks that belong to a
<a href="/working-with-tracks/track-and-bus-groups/">track/bus group</a>
class="option">Color</kbd> option for the group. With this enabled,
any color change will be propagated to all group members.
</p>
+
<p>
You can also explicitly change the group color by context-clicking
on the group tab in the Mixer, selecting <kbd class="menu">Edit
- Group...</kbd> and then clicking on the Color selector in that dialog
+ Group…</kbd> and then clicking on the Color selector in that dialog
that is displayed.
- </p>
-
+</p>
You can use <dfn>Visual Undo</dfn> (default shortcut: <kbd class="mod3">Z</kbd>
to revert this operation.
</p>
-
for a detailed explanation.
</p>
-{% children %}
</p>
<dl class="narrower-table">
<dt>Normal</dt>
- <dd>Tracks in <dfn>normal mode</dfn> 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.
+ <dd>Tracks in <dfn>normal mode</dfn> 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.
</dd>
<dt>Non-Layered</dt>
- <dd>Tracks using <dfn>non-layered mode</dfn> 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 <a href="/editing-and-arranging/change-region-lengths/pushpull-trimming/">push/pull trimming</a>.
+ <dd>Tracks using <dfn>non-layered mode</dfn> 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
+ <a href="/editing-and-arranging/change-region-lengths/pushpull-trimming/">push/pull trimming</a>.
</dd>
<dt>Tape</dt>
<dd><dfn>Tape-mode</dfn> tracks do <strong>destructive</strong> 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.
- 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
+ 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. 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.</dd>
</dl>
<img class="right" src="/images/a3_nonlayered_example.png" alt="normal and non-layered overdubbing comparision"
<p>
The screenshot on the right shows the subtle difference between an overdub
in <dfn>normal mode</dfn> (upper track) and one in <dfn>non-layered mode</dfn>
- (lower track). Both tracks were created using identical audio data. <br />
+ (lower track). Both tracks were created using identical audio data. <br>
The upper track shows a new region which has been <dfn>layered on
top</dfn> of the the existing (longer) region. You can see this if you look
- carefully at the region name strips.<br />
+ carefully at the region name strips.<br>
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.
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
<a href="/working-with-tracks/adding-tracks-and-busses/">Add Tracks</a> dialog allows you to
- select "Mono", "Stereo" and few other typical multichannel presets<br />
+ select "Mono", "Stereo" and few other typical multichannel presets<br>
The name of the preset describes the number of <dfn>input channels</dfn>
of the track or bus.
</p>
busses for you, the number of outputs will be determined by the number of
inputs of the <dfn>master <a
href="/introducing-ardour/understanding-basic-concepts-and-terminology/#busses">bus</a></dfn>,
- to which the track outputs will be connected.<br />
+ to which the track outputs will be connected.<br>
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.
</p>
preferable to leave Ardour to make connections automatically, even if you later
change some of them manually.
</p>
-
-
+
<h2>Overview</h2>
<p>
In each individual Track or Bus the signal flow is top to bottom. Consider the following diagram:
<li>Side chain inputs are not affected by strict i/o</li>
</ul>
-<h2>Customizing the Signal Flow : The Pin Connection window</h2>
+<h2>Customizing the Signal Flow: The Pin Connection window</h2>
<p>
The signal flow though the mixer can be customized at every processor node via "Pin Configuration" in the context menu of every processor.
<p>
When importing a video into Ardour, it will be <dfn>transcoded</dfn>
(changed from one format and codec to another) to avi/mjpeg for internal
- use (this allows reliable seeking to frames at low CPU cost — the
+ use (this allows reliable seeking to frames at low CPU cost—the
file size will increase, but hard disks are large and fast).
</p>
<p>
<img src="/images/MIDI_transform.png" alt="MIDI transformation" />
-<p>To access the Transform tool, right click the MIDI region > <em>name_of_the_region</em> > MIDI > Transform...</p>
+<p>To access the Transform tool, right click the MIDI region > <em>name_of_the_region</em> > MIDI > Transform…</p>
<p>First, select the property you want to modify in the 'Set' field, then change the target value using the 2 following fields. If you want to add more operands, click the "+" sign to create new lines. You can remove a superfluous line using the "-" sign on the right of the newly created line.</p>
-<p>In the picture above, we've used the Transform tool to add a bit of humanisation, by slightly changing the velocity of each note of the region, by a random number between -19 and +19 from it's original velocity. So we've used 3 operations :</p>
+<p>In the picture above, we've used the Transform tool to add a bit of humanisation, by slightly changing the velocity of each note of the region, by a random number between -19 and +19 from it's original velocity. So we've used 3 operations:</p>
<ul>
<li>Set velocity to this note's velocity</li>
<p>Each note will trigger a calculation of its own, so its velocity will be increased by a random number between 1 and 20, then decreased by a random number between 1 and 20.</p>
-<p>The properties that can be computed are :</p>
+<p>The properties that can be computed are:</p>
<ul>
<li>note number (eg C2 is note number 24, C#2 is 25 and so on)</li>
<li>channel</li>
</ul>
-<p>and the calculation may be based on the following properties :</p>
+<p>and the calculation may be based on the following properties:</p>
<ul>
<li>this note's</li>
<li>equal steps from <em>lower</em> to <em>higher</em> (<em>lower</em> and <em>higher</em> beeing constant values between 1 and 127)</li>
</ul>
-<p>The mathematical operators can be :</p>
+<p>The mathematical operators can be:</p>
<ul>
<li>+ (addition)</li>
<li>mod (rest of the euclidian division)</li>
</ul>
-<p>All this operations can be very handy, as long as you find a mathematical way to achieve your goal. Beware though of odd "border cases"
: division by zero (which does nothing), using the note's index and forgetting it starts at 0 and not 1, etc.<p>
+<p>All this operations can be very handy, as long as you find a mathematical way to achieve your goal. Beware though of odd "border cases": division by zero (which does nothing), using the note's index and forgetting it starts at 0 and not 1, etc.<p>
<p>You can nevertheless create very interesting results, like humanizing (randomizing the velocity, start time and duration of all the notes), creating arpeggios, automating tedious tasks, transposing, etc.</p>
of -86 ms over a 24 hour period. Drop-frame timecode would
compensate exactly for an NTSC color frame rate of 30 * 0.9990 (i.e.
29.970000). That is not the actual rate. However, some vendors use
- that rate - despite it being against the specs - because the
+ that rate—despite it being against the specs—because the
variant of using exactly 29.97 fps has zero timecode drift.
</p>
</ul>
<img src="/images/transpose_midi.png" alt="transpose dialog" />
-<p>To transpose a whole region at once, you can access the "transpose" dialog, by right clicking a region > <em>name_of_the_midi_region</em> > MIDI > Transpose...</p>
+<p>To transpose a whole region at once, you can access the "transpose" dialog, by right clicking a region > <em>name_of_the_midi_region</em> > MIDI > Transpose…</p>
<p>This very simple dialog allows to choose either a number of semitones to add or substract to all the notes inside the region, and/or for more significant changes, octaves (12 semitones).</p>
<dd>Trim region to match the current punch range.</dd>
</dl>
-{% children %}
-
operating system facilities called <dfn>realtime scheduling</dfn> and
<dfn>memory locking</dfn>. This means that you, the user who starts JACK, must be
allowed access to these facilities. By default, Ubuntu does create a
- user group that has this permission but — it does not put new
+ user group that has this permission but—it does not put new
users into this group by default. Read more about why <a href="https://wiki.ubuntu.com/Audio/TheAudioGroup">here</a>.
Consequently, you will not have permission to run JACK in the way you should.
</p>
Ardour has some support for running Windows VST plugins on Linux, but
this is rather complicated, extremely difficult for the Ardour
developers to debug, and generally unreliable, as it requires to run a
- large amount of Windows code in an emulated environment.<br />
+ large amount of Windows code in an emulated environment.<br>
If it is at all possible, you are strongly advised to use native
LADSPA, LV2 or Linux VST plugins on Linux, or AU on Mac OS X.
</p>
some way. Since a playlist is a list of regions, most of the
modifications involve manipulating regions: their position, length
and so forth. This is covered in the chapter
- <a href="/working-with-regions/">Working With Regions</a>.<br />
+ <a href="/working-with-regions/">Working With Regions</a>.<br>
Here, we cover some of the things you can do with playlists as objects
in their own right.
</p>
If a playlist is not in use, it occupies a small amount of memory, and
nothing more.
</p>
-
<p>
- <dfn>AATranslator</dfn> 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.
+ <dfn>AATranslator</dfn> is a Windows application that can convert sessions/projects from many diffferent DAWs into other formats. At the present time (December 2016), it can read and write Ardour 2.X sessions, and can read Ardour 3 sessions.
</p>
+
<p>
- The program runs very well on Linux using
- <a href="http://www.winehq.org/">Wine</a> (a Windows environment for Linux).
- There are equivalent solutions for running Windows applications on OS X,
- but we have no experience with them at this time. Ardour users have reported
- great results using AATranslator on Ardour 2.X sessions.</p>
+ The program runs very well on Linux using <a href="http://www.winehq.org/">Wine</a> (a Windows environment for Linux). There are equivalent solutions for running Windows applications on OS X, but we have no experience with them at this time. Ardour users have reported great results using AATranslator on Ardour 2.X sessions.
+</p>
+
<p>
- The <a href="http://www.aatranslator.com.au/">AATranslator website</a>
- has full details on supported formats and DAWs. The list includes
- ProTools, Live, Reaper, OMF, AAF and many more.
+ The <a href="http://www.aatranslator.com.au/">AATranslator website</a> has full details on supported formats and DAWs. The list includes ProTools, Live, Reaper, OMF, AAF and many more.
</p>
-<img src="/images/No_problem.gif" alt="AATranslator Demo Animation"/>
-
+<p class="warning">
+ 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).
+</p>
-
-
-
-
+<p class=fixme>Add content</p>
<p class="fixme">Add content</p>
-
-
-
If you are using a <em>single</em> typical 3rd party
audio interface (such as those from Apogee, RME, Presonus, and many
others), <em>or</em> you are using JackPilot or a similar
- application to start JACK, you do not need to worry about this.<br />
+ application to start JACK, you do not need to worry about this.<br>
You will need to set up an aggregate device only if either
of the following conditions are true:
</p>
Please see the instructions at <a href="http://jackaudio.org/faq/"
title="http://jackaudio.org/faq/">http://jackaudio.org/faq</a>
</p>
-
"in-key" and "chromatic" pad layouts.</dd>
</dl>
- ... plus a variety of tasks related to transport control, selection,
+ … plus a variety of tasks related to transport control, selection,
import, click track control and more.
</p>
</dl>
</p>
-
<p>
Throughout this manual, the term <dfn>click</dfn> refers to the act of pressing
and releasing the <kbd class="mouse">Left</kbd> mouse button. This action is used to select objects, activate
- buttons, turn choices on and off, pop up menus and so forth.<br />
+ buttons, turn choices on and off, pop up menus and so forth.<br>
On touch surfaces, it also corresponds to a single, one-finger tap on
the GUI.
</p>
<dfn>continuous controls</dfn> such as faders and knobs, or to scroll
vertically or horizontally inside a window.
</p>
-
<p>
The Faderport comes with a single USB socket on the back. Connect a
suitable USB cable from there to a USB port on your computer. As of
- the end of 2015, you should avoid USB3 ports - these cause erratic
+ the end of 2015, you should avoid USB3 ports—these cause erratic
behaviour with the device. This issue might get fixed by Presonus in
the future.
</p>
<p class="well">
Ardour uses the Faderport in what Presonus calls "native" mode. You
- do not need to do anything to enable this - Ardour will set the
+ do not need to do anything to enable this—Ardour will set the
device to be in the correct mode. In native mode, the Faderport
sends and receives ordinary MIDI messages to/from the host, and the
host understands the intended meaning of these messages. We note
this detail to avoid speculation about whether Ardour supports the
- device via the HUI protocol - it does not.
+ device via the HUI protocol—it does not.
<p>
The Faderport will be automatically recognized by your operating
system, and will appear in any of the lists of possible MIDI ports
Pressing the Output button causes the Faderport to control
the fader, pan, mute and solo settings of the Master bus. If
your session does not contain a Master bus, it does nothing.
- This is a toggle button - pressing it again returns Faderport
+ This is a toggle button—pressing it again returns Faderport
to controlling whichever track/bus was selected before the
first press of the Output button.
</p>
<p>
- Thanks to the combined work of Torben Hohn, Kjetil Mattheusen, Paul
- Davis and a few other developers, it is possible to use Windows
- <dfn><abbr title="Virtual Studio Technology">VST</abbr>
- plugins</dfn> (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).
+ Thanks to the combined work of Torben Hohn, Kjetil Mattheusen, Paul Davis and a few other developers, it is possible to use Windows <dfn><abbr title="Virtual Studio Technology">VST</abbr> plugins</dfn> (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).
</p>
<p>However, doing so has three substantial downsides:</p>
+
<ul>
- <li>It requires a special build of Ardour that is fundamentally
- very different from normal builds.</li>
- <li>Support depends on <a href="http://winehq.org/">Wine</a>,
- a Windows "emulator".</li>
- <li>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.</li>
+ <li>It requires a special build of Ardour that is fundamentally very different from normal builds.</li>
+ <li>Support depends on <a href="http://winehq.org/">Wine</a>, a Windows "emulator".</li>
+ <li>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.</li>
</ul>
-<p>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.</p>
-
-<p>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?</p>
-
-<p>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 <a href="http://www.linuxdsp.co.uk/">LinuxDSP</a>
-and <a href="http://www.loomer.co.uk/">Loomer</a>.
+<p>
+ 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.
+</p>
+
+<p>
+ 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?
+</p>
+
+<p>
+ 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 <a href="http://www.linuxdsp.co.uk/">LinuxDSP</a> and <a href="http://www.loomer.co.uk/">Loomer</a>.
</p>
<h2>A Plea To Plugin Manufacturers</h2>
+
<p>
- 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.
+ 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.
</p>
<p>
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.<br />
+ 1:1 routing.<br>
The drawback of VBAP is that a moving source will constantly change its
apparent sharpness, as it transitions between the three states mentioned
above.
<h2>Speaker layout</h2>
<p>
- Each VBAP panner is specific to its <dfn>speaker layout</dfn>
- — the panner has
+ Each VBAP panner is specific to its <dfn>speaker layout</dfn>—the
+ panner has
to "know" about the precise location of all the speakers. A complete VBAP
implementation must therefore include the possibility to define this
layout.
<li>provide video editing capabilities</li>
</ul>
-{% children %}
-
<p>
- No configuration is required if you intend to run everything on a single
- machine, and if you acquired Ardour from
- <a href="http://www.ardour.org"
- title="http://www.ardour.org">http://www.ardour.org</a>.
- Everything is pre-configured and included with the download/install.
+ No configuration is required if you intend to run everything on a single machine, and if you acquired Ardour from <a href="http://www.ardour.org" title="http://www.ardour.org">http://www.ardour.org</a>. Everything is pre-configured and included with the download/install.
</p>
<h2>Single Machine</h2>
+
<p>
- If you compile Ardour from source, or have installed it from a 3rd party
- repository, three additional tools will need to be installed manually,
- which are used by Ardour to provide video features:
+ If you compile Ardour from source, or have installed it from a 3rd party repository, three additional tools will need to be installed manually, which are used by Ardour to provide video features:
</p>
+
<ul>
- <li>xjadeo (the video monitor application): <a href="http://xjadeo.sourceforge.net/"
- title="http://xjadeo.sourceforge.net/" rel="nofollow">http://xjadeo.sf.net</a></li>
- <li>harvid (a video decoder used for the thumbnail timeline): <a
- href="http://x42.github.io/harvid/" title="http://x42.github.io/harvid/"
- rel="nofollow">http://x42.github.com/harvid/</a></li>
- <li>ffmpeg, ffprobe (used to import/export video, extract soundtracks and
- query video information): <a href="http://ffmpeg.org" title="http://ffmpeg.org"
- rel="nofollow">http://ffmpeg.org</a></li>
+ <li>xjadeo (the video monitor application): <a href="http://xjadeo.sourceforge.net/" title="http://xjadeo.sourceforge.net/" rel="nofollow">http://xjadeo.sf.net</a></li>
+ <li>harvid (a video decoder used for the thumbnail timeline): <a href="http://x42.github.io/harvid/" title="http://x42.github.io/harvid/" rel="nofollow">http://x42.github.com/harvid/</a></li>
+ <li>ffmpeg, ffprobe (used to import/export video, extract soundtracks and query video information): <a href="http://ffmpeg.org" title="http://ffmpeg.org" rel="nofollow">http://ffmpeg.org</a></li>
</ul>
+
<p>
Ardour requires xjadeo ≥ version 0.6.4, harvid ≥ version 0.7.0 and ffmpeg (known to work versions: 1.2, 2.8.2)
</p>
<p>
- The Ardour development team is in control of the first two applications. ffmpeg
- however can be a bit of a problem. To avoid conflicts with distribution packages,
- Ardour looks for <code>ffmpeg_harvid</code> and <code>ffprobe_harvid</code>.
+ The Ardour development team is in control of the first two applications. ffmpeg however can be a bit of a problem. To avoid conflicts with distribution packages, Ardour looks for <code>ffmpeg_harvid</code> and <code>ffprobe_harvid</code>.
</p>
+
<p>
All four applications need to be found in <code>$PATH</code> (e.g.
<code>$HOME/bin</code> or <code>/usr/local/bin</code>). For convenience the
your distribution provides suitable ffmpeg commands you can also just create
symbolic links:
</p>
+
<kbd class="cmd lin">sudo ln -s /usr/bin/ffmpeg /usr/bin/ffmpeg_harvid</kbd>
<kbd class="cmd lin">sudo ln -s /usr/bin/ffprobe /usr/bin/ffprobe_harvid</kbd>
+
<p>
- Binary releases are available from ardour.org as well as an installer script:
- <a href="https://github.com/Ardour/ardour/blob/master/tools/videotimeline/install_video_tools.sh"
- title="https://github.com/Ardour/ardour/blob/master/tools/videotimeline/install_video_tools.sh"
- rel="nofollow">install_video_tools.sh</a>.
+ Binary releases are available from ardour.org as well as an installer script: <a href="https://github.com/Ardour/ardour/blob/master/tools/videotimeline/install_video_tools.sh" title="https://github.com/Ardour/ardour/blob/master/tools/videotimeline/install_video_tools.sh" rel="nofollow">install_video_tools.sh</a>.
</p>
+
<p>
- The easiest way to install the video-utilities is by running the following
- line in a terminal:
+ The easiest way to install the video-utilities is by running the following line in a terminal:
</p>
+
<kbd class="cmd lin">sh -c "$(curl -s -L http://git.io/tVUCkw)"</kbd>
<h2>Studio Setup</h2>
+
<p>
- Please read the info in the previous section to familiarize yourself with
- the tools involved first. Setting up a proper A/V post-production studio
- can be a complicated task. As much as we streamline and simplify the
- <em>single machine</em> setup, the <dfn>studio setup</dfn> is focused on modularity.
+ Please read the info in the previous section to familiarize yourself with the tools involved first. Setting up a proper A/V post-production studio can be a complicated task. As much as we streamline and simplify the <em>single machine</em> setup, the <dfn>studio setup</dfn> is focused on modularity.
</p>
<ul class="fixme">
- <li>TODO:</li>
- <li>Synchronization ardour → video-display-box should be accomplished by external
- means jack-transport(netjack), MTC, LTC
- (<abbr title="Open Sound Control - "postmodern MIDI"">OSC</abbr> and/or
- ssh-pipe work but introduce additional latency + jitter)</li>
-<li>Ardour launches <code>XJREMOTE</code> (environment variable, default 'xjremote' which comes with xjadeo).
-</li>
-<li>Either use a custom shell script that ssh'es into the remote box and launches/controls xjadeo there, selects the sync-source and passes though communication between ardour ⇔ xjadeo via ssh (xjadeo is launched stopped with the session).
-</li>
-<li>..or override xjremote's behavior – instead of IPC with a local running xjadeo-process, using <abbr title="Open Sound Control - "postmodern MIDI"">OSC</abbr> for example. xjadeo would run permanently and Ardour will just tell it to load files and set offsets via <acronym title="Open Sound Control - "postmodern MIDI"">OSC</acronym>. see <a href="http://xjadeo.git.sourceforge.net/git/gitweb.cgi?p=xjadeo/xjadeo;a=blob_plain;f=contrib/xjremote-osc" title="http://xjadeo.git.sourceforge.net/git/gitweb.cgi?p=xjadeo/xjadeo;a=blob_plain;f=contrib/xjremote-osc" rel="nofollow">xjremote-osc</a> example script.
-</li>
-<li>If the video server runs remotely, Ardour needs to be configured in Ardour > Preference > Video (hostname of the video-server).
-</li>
-<li>
-Ideally the machines have a common shared folder (NFS or similar). Ardour's import (audio-extract) and export (mux) functionality depends on having access to the video file. Also Ardour's video-import transcodes the file into a suitable proxy-format that allows reliable seeking to any frame…
-</li>
+ <li>TODO:</li>
+ <li>Synchronization ardour → video-display-box should be accomplished by external means jack-transport(netjack), MTC, LTC (<abbr title="Open Sound Control—"postmodern MIDI"">OSC</abbr> and/or ssh-pipe work but introduce additional latency + jitter)</li>
+ <li>Ardour launches <code>XJREMOTE</code> (environment variable, default 'xjremote' which comes with xjadeo).</li>
+ <li>Either use a custom shell script that ssh'es into the remote box and launches/controls xjadeo there, selects the sync-source and passes though communication between ardour ⇔ xjadeo via ssh (xjadeo is launched stopped with the session).</li>
+ <li>..or override xjremote's behavior—instead of IPC with a local running xjadeo-process, using <abbr title="Open Sound Control—"postmodern MIDI"">OSC</abbr> for example. xjadeo would run permanently and Ardour will just tell it to load files and set offsets via <acronym title="Open Sound Control—"postmodern MIDI"">OSC</acronym>. see <a href="http://xjadeo.git.sourceforge.net/git/gitweb.cgi?p=xjadeo/xjadeo;a=blob_plain;f=contrib/xjremote-osc" title="http://xjadeo.git.sourceforge.net/git/gitweb.cgi?p=xjadeo/xjadeo;a=blob_plain;f=contrib/xjremote-osc" rel="nofollow">xjremote-osc</a> example script.</li>
+ <li>If the video server runs remotely, Ardour needs to be configured in Ardour > Preference > Video (hostname of the video-server).</li>
+ <li>Ideally the machines have a common shared folder (NFS or similar). Ardour's import (audio-extract) and export (mux) functionality depends on having access to the video file. Also Ardour's video-import transcodes the file into a suitable proxy-format that allows reliable seeking to any frame…</li>
</ul>
</dd>
</dl>
-
-{% children %}
-
-
-
-
<p>
<dfn>Ardour</dfn> is a professional digital workstation for working with
audio and MIDI.
</p>
-<h2>Ardour is meant for...</h2>
+<h2>Ardour is meant for…</h2>
<h3>Audio Engineers</h3>
<p>
Ardour can help.
</p>
-<h2>Ardour features...</h2>
+<h2>Ardour features…</h2>
<h3>Audio and MIDI Multi-Track Recording and Editing</h3>
<p>
current-session.
</p>
-{% children %}
-
musical tempo & meter, timecode synchronization, etc.) with one or more
Tracks and Buses, and all the Regions and Plug-Ins they contain.
</p>
-
a session when creating it, in the
<a href="/working-with-sessions/new-session-dialog/">New Session dialog</a>.
</p>
-
<p>
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.
</p>
<p>
Editing operations in Ardour either operate on a single point in time
is special in that its position indicates both a time and a track; the other
edit points (Playhead,Marker) indicate a time only.
</p>
-
<p>
<dfn>ardour</dfn> 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]<br />
- 2: intense feeling of love [syn: ardor]<br />
+ felt a kind of religious zeal" [syn: ardor, elan, zeal]<br>
+ 2: intense feeling of love [syn: ardor]<br>
3: feelings of great warmth and intensity; "he spoke with great ardor"
[syn: ardor, fervor, fervour, fervency, fire, fervidness]
</p>
for a Digital Audio Workstation whose source code and design belongs to a
group of collaborators.
</p>
-
<p>
Having written a DAW for Linux, it turned out to be relatively easy
to port Ardour to OS X, mostly because of the excellent work done by
-the JACK OS X group that ported JACK to OS X.<br />
+the JACK OS X group that ported JACK to OS X.<br>
Although OS X has a number of disadvantages compared to Linux, its
ease of use and its presence in many studios already makes it a
worthwhile platform.
</p>
-
There are already a number of excellent digital audio workstations. To
mention just a few: ProTools, Nuendo, Samplitude, Digital Performer, Logic,
Cubase (SX), Sonar, along with several less well known systems such as
-SADIE, SAWStudio and others.<br />
+SADIE, SAWStudio and others.<br>
Each of these programs has its strengths and weaknesses, although over the
last few years most of them have converged on a very similar set of core
features. However, each of them suffers from two problems when seen from the
By default the video is imported using the original width/height.
If it is a large video (e.g. full-HD) it makes sense to scale it down
to decrease the CPU load and disk I/O required to decode and play the
- file.<br />
+ file.<br>
A small, low-quality representation of the image is usually sufficient
for editing soundtracks. The default bitrate in kbit/sec is set to use
0.7 bits per pixel. (Compare: the average DVD medium uses 5000 kbit/s;
at PAL resolution this is about 0.5 bits per pixel. But the DVD is
- using the <dfn>mpeg2</dfn> — a denser compression algorithm than the
+ using the <dfn>mpeg2</dfn>—a denser compression algorithm than the
<dfn>mjpeg</dfn> codec used by Ardour.)
</p>
<p>
The file format is determined by the extension that you choose for it
- (.avi, .mov, .flv, .ogv, .webm,...)
+ (.avi, .mov, .flv, .ogv, .webm,…)
Note: not all combinations of format, codec, and settings produce files
which are according to specifications. For example, flv files require
sample rates of 22.1 kHz or 44.1 kHz, mpeg containers can not
</li>
</ul>
-{% children %}
-
<dt>Windows VST Plugins on Linux</dt>
<dd>VST plugins for Windows, but being used on Linux. <em>Not
supported by normal builds of Ardour. <a href="/working-with-plugins/windows-vst-support/">Read
- more...</a></em>
+ more…</a></em>
</dd>
</dl>
the <a href="/working-with-plugins/processor-box/">Processor
Box</a> page.</p>
-{% children %}
-
<h2>Working With Regions</h2>
+
<p>
- <dfn>Regions</dfn> are the basic elements of editing and composing in
- Ardour. In most cases, a region represents a single contiguous section
- of one or more media files. Regions are defined by a fixed set of attributes:
+ <dfn>Regions</dfn> are the basic elements of editing and composing in Ardour. In most cases, a region represents a single contiguous section of one or more media files. Regions are defined by a fixed set of attributes:
</p>
+
<ul>
- <li>the audio or
- <abbr title="Musical Instrument Digital Interface">MIDI</abbr>
- <dfn>source file(s)</dfn> they represent,</li>
+ <li>the audio or <abbr title="Musical Instrument Digital Interface">MIDI</abbr> <dfn>source file(s)</dfn> they represent,</li>
<li>an <dfn>offset</dfn> (the "start point") in the audio or MIDI file(s), and</li>
<li>a <dfn>length</dfn>.</li>
</ul>
+
<p>
When placed into a playlist, they gain additional attributes:
</p>
+
<ul>
<li>a <dfn>position</dfn> along the timeline, and</li>
<li>a <dfn>layer</dfn>.</li>
</ul>
+
<p>
- There are other attributes as well, but they do not <em>define</em> the
- region. Things you should know about regions:
+ There are other attributes as well, but they do not <em>define</em> the region. Things you should know about regions:
</p>
<h3>Regions Are Cheap</h3>
+
<p>
- By themselves, regions consume very little of your computer's resources.
- Each region requires a small amount of memory, and represents a rather
- small amount of CPU work if placed into an active track. So, don't worry
- about creating regions whenever you need to.
+ By themselves, regions consume very little of your computer's resources. Each region requires a small amount of memory, and represents a rather small amount of CPU work if placed into an active track. So, don't worry about creating regions whenever you need to.
</p>
<h3>Regions Are Not Files</h3>
+
<p>
- Although a region can represent an entire audio file, they are never
- equivalent to an audio file. Most regions represent just parts of an audio
- file(s) on disk, and removing a region from a track has nothing to do with
- removing the audio file(s) from the disk (the <kbd
- class="menu">Destroy</kbd> operation, one of Ardour's few destructive
- operations, can affect this). Changing the length of a region has no effect
- on the audio file(s) on disk. Splitting and copying regions does not alter
- the audio file in anyway, nor does it create new audio files (only
- <dfn>recording</dfn>,
- and the <kbd class="menu">Export</kbd>, <kbd class="menu">Bounce</kbd> and
- <kbd class="menu">Reverse</kbd> operations create new audio files).</p>
-
-{% children %}
+ Although a region can represent an entire audio file, they are never equivalent to an audio file. Most regions represent just parts of an audio file(s) on disk, and removing a region from a track has nothing to do with removing the audio file(s) from the disk (the <kbd class="menu">Destroy</kbd> operation, one of Ardour's few destructive operations, can affect this). Changing the length of a region has no effect on the audio file(s) on disk. Splitting and copying regions does not alter the audio file in anyway, nor does it create new audio files (only <dfn>recording</dfn>, and the <kbd class="menu">Export</kbd>, <kbd class="menu">Bounce</kbd> and <kbd class="menu">Reverse</kbd> operations create new audio files).
+</p>
-
-
<img class="left" src="/images/toolbar-zoom.png" alt="Editor toolbar's zoom">
-
-
<p>The zoom controls allow to navigate the session along both the time and track axes.</p>
-
-
-<p>The drop down <kbd class="menu">Zoom Focus</kbd> menu allows to select a focus
-
-point for the zoom, i.e. the center of the zoom. The choices are :</p>
-
-
+<p>The drop down <kbd class="menu">Zoom Focus</kbd> menu allows to select a focus point for the zoom, i.e. the center of the zoom. The choices are:</p>
<ul>
-
<li><dfn>Left</dfn> of the screen</li>
-
<li><dfn>Right</dfn> of the screen</li>
-
<li><dfn>Center</dfn> of the screen</li>
-
<li><dfn>Playhead</dfn></li>
-
<li><dfn>Mouse</dfn></li>
-
<li><dfn>Edit Point</dfn> as set in the <a href="/ardours-interface/the-edit-point-control/">Edit point</a> control.</li>
-
</ul>
+<p>The 2 leftmost zoom buttons (<kbd class="menu">−</kbd> and <kbd class="menu">+</kbd>) use this zoom focus to zoom out and in respectively.<p>
-
-<p>The 2 leftmost zoom buttons (<kbd class="menu">−</kbd> and
-
-<kbd class="menu">+</kbd>) use this zoom focus to zoom out and in
-
-respectively.<p>
-
-
-
-<p>The <kbd class="menu">Zoom to session</kbd> button is a handy shortcut to zoom
-
-out or in until all the session (as defined by it's <a href="/working-with-markers/">start/end
-
-markers</a>) fits horizontally.</p>
-
-
+<p>The <kbd class="menu">Zoom to session</kbd> button is a handy shortcut to zoom out or in until all the session (as defined by it's <a href="/working-with-markers/">start/end markers</a>) fits horizontally.</p>
<p>Changing the <kbd class="menu">Number of visible tracks</kbd> dropdown menu
-
allows to fit this number of tracks vertically in the screen.<p>
-
-
<p class="note">There <em>is</em> a minimal track height to keep it visible, so
-
according to you screen vertical size, some high number can have no effect.</p>
-
-
-<p>Inside this menu are 2 handy choices :</p>
+<p>Inside this menu are 2 handy choices:</p>
<ul>
-
- <li><dfn>Selected tracks</dfn> that focus on the selected tracks. If the selected
-
- tracks are not contiguous, the unselected tracks inbetween will be hidden, see
-
- the <a href="/ardours-interface/editor-lists/tracks-and-busses-list/">Track and Bus list</a>.</li>
-
- <li><dfn>All</dfn> that fits all the tracks of the sessions vertically (provided
-
- there's enough screen estate).</li>
-
+ <li><dfn>Selected tracks</dfn> that focus on the selected tracks. If the selected tracks are not contiguous, the unselected tracks inbetween will be hidden, see the <a href="/ardours-interface/editor-lists/tracks-and-busses-list/">Track and Bus list</a>.</li>
+ <li><dfn>All</dfn> that fits all the tracks of the sessions vertically (provided there's enough screen estate).</li>
</ul>
-
-
-<p>The rightmost buttons <kbd class="menu">Shrink tracks</kbd> and
-
-<kbd class="menu">Expand tracks</kbd> reduce or expand the vertical size of the
-
-selected tracks. If no track is selected, all the tracks will be shrunk or
-
-expanded each time the button is pushed.
+<p>The rightmost buttons <kbd class="menu">Shrink tracks</kbd> and <kbd class="menu">Expand tracks</kbd> reduce or expand the vertical size of the selected tracks. If no track is selected, all the tracks will be shrunk or expanded each time the button is pushed.
---
---
-title: Automating MIDI - Pitch bending and aftertouch
+title: Automating MIDI—Pitch bending and aftertouch
menu_title: Automating MIDI
include: automating-midi---pitch-bending-and-aftertouch.html
uri: working-with-midi/automation-midi
---
---
-title: Transforming MIDI - Mathematical operations
+title: Transforming MIDI—Mathematical operations
menu_title: Transforming MIDI
include: transforming-midi---mathematical-operations.html
uri: working-with-midi/transformation-midi
part: chapter
---
+
---
title: Lua Bindings Class Reference
style: luadoc
part: chapter
---
+
---
title: Appendix
part: part
projects / ardour-manual / commitdiff
