diff --git a/manual/xml/editing_concepts.xml b/manual/xml/editing_concepts.xml index b76f829a38..9cefc76fc7 100644 --- a/manual/xml/editing_concepts.xml +++ b/manual/xml/editing_concepts.xml @@ -65,10 +65,10 @@ - Regions are a somewhat special case in that they may contain - sync points. If a region contains a sync point, the region start - position is ignored and the sync point is aligned to the grid. This allows - you to align a 'hit point' to the desitred grid. + Regions are a somewhat special case in that they may contain + sync points. If a region contains a sync point, + the region start position is ignored and the sync point is aligned to + the grid. This allows you to align a 'hit point' to the desitred grid. diff --git a/manual/xml/setting_up_to_record.xml b/manual/xml/setting_up_to_record.xml index dca9b07bfe..43ca3950b3 100644 --- a/manual/xml/setting_up_to_record.xml +++ b/manual/xml/setting_up_to_record.xml @@ -39,85 +39,90 @@
Monitoring - While monitoring is a broad term, here we use it to refer to the - signal a track delivers to its channel for further processing. - There are two available monitoring states. - These are - 'input' (the signal being delivered to a track for potential recording), and - 'off-disk' (material you have already recorded, or silence in the absence of a region). + While monitoring is a broad term, here we use it to refer to the + signal a track delivers to its channel for further processing. There + are two available monitoring states. These are 'input' (the signal + being delivered to a track for potential recording), and 'off-disk' + (material you have already recorded, or silence in the absence of a + region).
Hardware Monitoring - Some multichannel audio interfaces have the ability to route an input signal - directly to an output with very low or no latency. This is useful if your computer hardware - is connected to the tape sends and returns of a mixing console. - Whenever monitoring is set to input on a track, the track's input port is connected to its - output in hardware (as would happen on a multitrack tape recorder). - Hardware monitoring provides the best quality assurance for an engineer, as the signal path - is exactly the same for input and off-disk monitoring. - Level differences can be heard immediately, as can other gremlins that may ruin your recording. - The hardware monitoring setting is only useful for interfaces supporting this feature. + Some multichannel audio interfaces have the ability to route an input + signal directly to an output with very low or no latency. This is + useful if your computer hardware is connected to the tape sends and + returns of a mixing console. Whenever monitoring is set to input on a + track, the track's input port is connected to its output in hardware + (as would happen on a multitrack tape recorder). Hardware monitoring + provides the best quality assurance for an engineer, as the signal + path is exactly the same for input and off-disk monitoring. Level + differences can be heard immediately, as can other gremlins that may + ruin your recording. The hardware monitoring setting is only useful + for interfaces supporting this feature.
- +
Software Monitoring - Software monitoring uses software to perform input monitoring. - When set to monitor input, a tracks input signal is passed to its channel - as if it were coming from disk, allowing plugins to be heard while recording. - This introduces an inevitable processing delay, or latency, to the input signal. - The size of the delay depends on the current JACK configuration, which should - be set to as short as possible while recording. + Software monitoring uses software to perform input monitoring. When + set to monitor input, a tracks input signal is passed to its channel + as if it were coming from disk, allowing plugins to be heard while + recording. This introduces an inevitable processing delay, or latency, + to the input signal. The size of the delay depends on the current JACK + configuration, which should be set to as short as possible while + recording.
- +
Latency
- +
External Monitoring - External Monitoring will silence the output of a track whenever the track is set - to monitor input. It is useful if you are listening to the input signal - using a path outside your computer (eg a mixing console). + External Monitoring will silence the output of a track whenever the + track is set to monitor input. It is useful if you are listening to + the input signal using a path outside your computer (eg a mixing + console).
- +
Tape Machine Mode - Nearly all traditional tape recorders use the same monitoring model. - Normally only tracks that are record-enabled will monitor input with the - transport stopped. - Tape machine mode emulates this behaviour. - Some simpler machines (like a famous product by Alesis) switch all tracks to - input on stop when auto-input is enabled, regardless of record-enable state. - Disabling Tape Machine Mode switches to a behaviour that mimics this type of recorder. - Be warned that if you disable Tape Machine Mode, many tracks sharing the same input - (in software monitoring mode) will sum that input through the master buss - (potentially including several plugins) whenever the transport is stopped. - Since setting up a sound usually involves listening to the input with the transport - stopped, you might not be hearing the sound you are about to record! - Disabling this mode can also lead to surprising acoustic feedback. - Tape Machine Mode is off by default. + Nearly all traditional tape recorders use the same monitoring model. + Normally only tracks that are record-enabled will monitor input with + the transport stopped. Tape machine mode emulates this behaviour. Some + simpler machines (like a famous product by Alesis) switch all tracks + to input on stop when auto-input is enabled, regardless of + record-enable state. Disabling Tape Machine Mode switches to a + behaviour that mimics this type of recorder. Be warned that if you + disable Tape Machine Mode, many tracks sharing the same input (in + software monitoring mode) will sum that input through the master buss + (potentially including several plugins) whenever the transport is + stopped. Since setting up a sound usually involves listening to the + input with the transport stopped, you might not be hearing the sound + you are about to record! Disabling this mode can also lead to + surprising acoustic feedback. Tape Machine Mode is off by default.
Auto-Input - When a track is record-enabled, it is set to monitor input - regardless of the transport state. Auto input switches to off-disk monitoring - when play is engaged. When Ardour is actually recording, the track will be set to - monitor input again. - Auto-Input is useful for performing punch-ins. Disable auto-input when performing - 'dry runs' of an overdub to allow a performer to hear themselves while the transport is rolling. + When a track is record-enabled, it is set to monitor input regardless + of the transport state. Auto input switches to off-disk monitoring + when play is engaged. When Ardour is actually recording, the track + will be set to monitor input again. Auto-Input is useful for + performing punch-ins. Disable auto-input when performing 'dry runs' of + an overdub to allow a performer to hear themselves while the transport + is rolling.
@@ -262,12 +267,13 @@
Punch Recording - Once you have recorded material onto a track, the simplest way to punch in - (or drop in as it is known elsewhere) is to roll the transport and press the - master record button at the desired in point. Assuming the desired track is - record enabled, its monitoring state will be switched and recording will begin. - Pressing it again disengages record. - If repeatable punch-ins are required, you may use auto punch. + Once you have recorded material onto a track, the simplest way to + punch in (or drop in as it is known elsewhere) is to roll the + transport and press the master record button at the desired in point. + Assuming the desired track is record enabled, its monitoring state + will be switched and recording will begin. Pressing it again + disengages record. If repeatable punch-ins are required, you may use + auto punch.
diff --git a/manual/xml/using_existing_audio.xml b/manual/xml/using_existing_audio.xml index c4c0eeb796..6e1c87a750 100644 --- a/manual/xml/using_existing_audio.xml +++ b/manual/xml/using_existing_audio.xml @@ -1,43 +1,49 @@ + + Using Existing Audio - - There are two primary ways to bring data into Ardour: recording it - within a session from a live sound source or importing pre-existing audio - files. This section covers the various ways to import audio into a - session. + + There are two primary ways to bring data into Ardour: recording it + within a session from a live sound source or importing pre-existing + audio files. This section covers the various ways to import audio into a + session. +
Importing and Embedding - - Importing and embedding are two different methods of using existing - audio files on your computer (or network file system) within a session. - They differ in one key respect: + + Importing and embedding are two different methods of using existing + audio files on your computer (or network file system) within a + session. They differ in one key respect: + Importing - - An existing audio file is copied to the session's sounds - folder, and is converted into the session's native format (WAVE or - Broadcast WAVE depending on your choice) and sample rate. At this - time, no control over the conversion process is offered. If sample - rate conversion is required, it will be carried out at the highest - quality that Ardour can provide. This means that it can be rather - slow (many minutes to import an audio file lasting a few - minutes). + + An existing audio file is copied to the session's sounds folder, + and is converted into the session's native format (WAVE or + Broadcast WAVE depending on your choice) and sample rate. At + this time, no control over the conversion process is offered. If + sample rate conversion is required, it will be carried out at + the highest quality that Ardour can provide. This means that it + can be rather slow (many minutes to import an audio file lasting + a few minutes). + Embedding - - An existing audio file is used as a the source for a region, - but is not copied or modified in any way. + + An existing audio file is used as a the source for a region, but + is not copied or modified in any way. + @@ -45,266 +51,350 @@
Supported External Audio File Formats - - The list of audio file formats that Ardour can import/embed is quite - long. It is based on the functionality offered by libsndfile, an excellent - and widely used software library by Australian programmer Erik de Castro - Lopo. As libsndfile's capabilities expand, so will Ardour's abilities to - import (and export) new formats. Ogg/Vorbis (an excellent, unpatented and - license free audio compression format similar to MP3) is planned for the - near future. Currently, supported formats include: + + The list of audio file formats that Ardour can import/embed is quite + long. It is based on the functionality offered by libsndfile, an + excellent and widely used software library by Australian programmer + Erik de Castro Lopo. As libsndfile's capabilities expand, so will + Ardour's abilities to import (and export) new formats. Ogg/Vorbis (an + excellent, unpatented and license free audio compression format + similar to MP3) is planned for the near future. Currently, supported + formats include: + - Microsoft WAV + + Microsoft WAV + - SGI/Apple AIFF/AIFC + + SGI/Apple AIFF/AIFC + - Sun AU/Snd + + Sun AU/Snd + - Raw (headerless) + + Raw (headerless) + - Paris Audio File (PAF) + + Paris Audio File (PAF) + - Commodore IFF/SVX + + Commodore IFF/SVX + - Sphere/NIST WAV + + Sphere/NIST WAV + - IRCAM SF + + IRCAM SF + - Creative VOC + + Creative VOC + - SoundForge W64 + + SoundForge W64 + - GNU Octave MAT4.4 + + GNU Octave MAT4.4 + - Portable Voice Format + + Portable Voice Format + - Fasttracker 2 XI + + Fasttracker 2 XI + - HMM Tool Kit HTK + + HMM Tool Kit HTK + - Sample encodings supported include: + + Sample encodings supported include: + - Unsigned and signed 8, 16, 24 and 32 bit PCM + + Unsigned and signed 8, 16, 24 and 32 bit PCM + - IEEE 32 and 64 floating point + + IEEE 32 and 64 floating point + - U-LAW + + U-LAW + - A-LAW + + A-LAW + - IMA ADPCM + + IMA ADPCM + - MS ADPCM + + MS ADPCM + - GSM 6.10 + + GSM 6.10 + - G721/723 ADPCM + + G721/723 ADPCM + - 12/16/24 bit DWVW + + 12/16/24 bit DWVW + - OK Dialogic ADPCM + + OK Dialogic ADPCM + - 8/16 DPCM + + 8/16 DPCM +
Using audio files as tracks or regions? - - When you want to use existing audio files in an Ardour session, the - first choice you need to make is whether you want to bring the files in as - tracks or as new regions. Consider the two following scenarios: + + When you want to use existing audio files in an Ardour session, the + first choice you need to make is whether you want to bring the files + in as tracks or as new regions. Consider the two following scenarios: + - you have an 8 track recording of existing material, with 1 audio - file per track + + you have an 8 track recording of existing material, with 1 audio + file per track + - you have a sample library containing 500 small audio - files + + you have a sample library containing 500 small audio files + - In the first case, your goal is probably to have 8 tracks (at - least), with each track containing a single audio file. In the second - case, its a lot more likely that you simply want to be able to use any of - the samples easily, but do not want any tracks created as a direct result - of the import/embed. It is very important that you understand this - distinction: many new users think there should be a "simple" way to import - existing audio without understanding that the goal of importing/embedding - is not always the same. + + In the first case, your goal is probably to have 8 tracks (at least), + with each track containing a single audio file. In the second case, + its a lot more likely that you simply want to be able to use any of + the samples easily, but do not want any tracks created as a direct + result of the import/embed. It is very important that you understand + this distinction: many new users think there should be a "simple" way + to import existing audio without understanding that the goal of + importing/embedding is not always the same. + - Ardour provides two different options when importing. You can - import/embed audio files as new tracks, or you can import/embed them into - the region list, where they will be available as regions to put into new - or existing tracks. You can also insert import/embed audio files directly - into an existing track. + + Ardour provides two different options when importing. You can + import/embed audio files as new tracks, or you can import/embed them + into the region list, where they will be available as regions to put + into new or existing tracks. You can also insert import/embed audio + files directly into an existing track. +
How to import/embed + + There are three pathways for importing/embedding an audio file into a + session. One is initiated from the File menu, one is initiated from + the track context menu, and one is initiated from the region list. + These methods are all equivalent: they open the file import dialog. + Once the dialog is open, you can choose to add new audio as new + tracks, as regions in the region list, or as audio in the selected + track. You can change this behavior once the dialog is opened. + - There are three pathways for importing/embedding an audio file into - a session. One is initiated from the File menu, one is initiated from the - track context menu, and one is initiated from the region list. These - methods are all equivalent: they open the file import dialog. Once the - dialog is open, you can choose to add new audio as new tracks, as regions - in the region list, or as audio in the selected track. You can change this - behavior once the dialog is opened. - - - If you want to import a file directly into an existing track, - you must have the track selected in the editor before beginning the - import. - If you use Nautilus as your file manager, you can easily - import files into your project by dragging them onto the desired track, - then releasing the mouse button. The file will then be embedded into your session. + + + + If you want to import a file directly into an existing track, you + must have the track selected in the editor before beginning the + import. + + + If you use Nautilus as your file manager, you can easily import files + into your project by dragging them onto the desired track, then + releasing the mouse button. The file will then be + embedded into your session. +
Working with Tags - - A "tag" is bit of information, or metadata, - that is associated with a data file. Specifically, tags are keywords or - terms that you feel have some relevance to a particular soundfile. Ardour - can store these tags in a seachable database so that you can quickly - search for sounds based on the tags that you have assigned to them. For - example you can assign the term "120bpm" to a sound, and then when you - search for this tag, the file will appear in the search list. Tags are - independent of the filename or anything else about the file. Tags, and the - file paths that they are associated with, are stored in a file called - "sfdb" in your Ardour user folder. + + A "tag" is bit of information, or metadata, that + is associated with a data file. Specifically, tags are keywords or + terms that you feel have some relevance to a particular soundfile. + Ardour can store these tags in a seachable database so that you can + quickly search for sounds based on the tags that you have assigned to + them. For example you can assign the term "120bpm" to a sound, and + then when you search for this tag, the file will appear in the search + list. Tags are independent of the filename or anything else about the + file. Tags, and the file paths that they are associated with, are + stored in a file called "sfdb" in your Ardour user folder. +
Adding tags to a file - - Select a file in the import dialog. + + Select a file in the import dialog. + - - Enter the tags in the box to the right labeled "Tags". + + Enter the tags in the box to the right labeled "Tags". + - - Tags are stored when the input box loses focus, there is no reason - to explicitly "save" them. + + Tags are stored when the input box loses focus, there is no reason + to explicitly "save" them. +
Searching for files using tags - - Select the "Search Tags" tab on the import dialog. + + Select the "Search Tags" tab on the import dialog. + - - Enter the tag(s) to search for and press "Search". + + Enter the tag(s) to search for and press "Search". + - - Files which have been "tagged" with the input terms will appear in - the results window. You can audition these files and apply tags to them - from this window. + + Files which have been "tagged" with the input terms will appear in + the results window. You can audition these files and apply tags to + them from this window. +
Searching Freesound for soundfiles (optional) + + Freesound (http://freesound.iua.upf.edu/) is an online database with + thousands of soundfiles which can be freely used in many projects + (visit Freesound for the exact licensing terms). Ardour has an option + to download files directly from freesound directly from the import + dialog. Freesound files are tagged with metadata which you can use to + search for relevant sounds. + - Freesound (http://freesound.iua.upf.edu/) is an online database with - thousands of soundfiles which can be freely used in many projects (visit - Freesound for the exact licensing terms). Ardour has an option to download - files directly from freesound directly from the import dialog. Freesound - files are tagged with metadata which you can use to search for relevant - sounds. + + To enable the Freesound search engine inside Ardour, you must build + Ardour with the option FREESOUND=yes, and you must have the "curl" + library installed. This is currently optional but may later become a + standard feature of Ardour. + - To enable the Freesound search engine inside Ardour, you must build - Ardour with the option FREESOUND=yes, and you must have the "curl" library - installed. This is currently optional but may later become a standard - feature of Ardour. + + To download files from Freesound, you must first register for a + username and password on the freesound website. Enter this information + into the text entry boxes, enter your tags to search for, and then + click "Start Downloading". Ardour will begin downloading files, and + the "Start Downloading" button will change to say "Cancel". Clicking + the "Cancel" button will wait until the currently downloading file is + finished, then the button will switch back to "Start Downloading". The + button will also say "Start Downloading" once Ardour has downloaded + all of the files that match the given tag. In the future there may be + better indication of the file progress and better filtering on the + filetypes that are downloaded. + - To download files from Freesound, you must first register for a - username and password on the freesound website. Enter this information - into the text entry boxes, enter your tags to search for, and then click - "Start Downloading". Ardour will begin downloading files, and the "Start - Downloading" button will change to say "Cancel". Clicking the "Cancel" - button will wait until the currently downloading file is finished, then - the button will switch back to "Start Downloading". The button will also - say "Start Downloading" once Ardour has downloaded all of the files that - match the given tag. In the future there may be better indication of the - file progress and better filtering on the filetypes that are - downloaded. + + If you later search for the same terms, you will see that the files + appear in the list more quickly, because any files in the search set + that are already downloaded won't have to be downloaded again. + - If you later search for the same terms, you will see that the files - appear in the list more quickly, because any files in the search set that - are already downloaded won't have to be downloaded again. - - Sounds that are downloaded from Freesound will automatically be - given tags in Ardour that match their tags in the Freesound database. This - means that once they are downloaded, Ardour can search for the local files - very quickly using the "Search Tags" tab. + + Sounds that are downloaded from Freesound will automatically be given + tags in Ardour that match their tags in the Freesound database. This + means that once they are downloaded, Ardour can search for the local + files very quickly using the "Search Tags" tab. +
- -