From b8a6f94325c46a4129922ad3dbb61ca30761299b Mon Sep 17 00:00:00 2001 From: Tim Mayberry Date: Thu, 15 Feb 2007 03:49:43 +0000 Subject: [PATCH] Add a help target(the default target) and format target to the manual Makefile Reformat the docs, I explained in a prior commit why this modifies every file git-svn-id: svn://localhost/ardour2/trunk@1463 d708f5d6-7413-0410-9779-e7cbd77b26cf --- manual/Makefile | 25 + manual/xml/adding_tracks.xml | 74 +- manual/xml/advanced_editing.xml | 14 +- manual/xml/ardour_basics.xml | 32 +- manual/xml/ardour_manual.xml | 39 +- manual/xml/automation.xml | 379 +++--- manual/xml/basic_editing.xml | 36 +- manual/xml/basic_recording.xml | 481 +++---- manual/xml/bcf2000.xml | 1065 ++++++++-------- manual/xml/behringer_ddx3216.xml | 219 ++-- manual/xml/book_info.xml | 70 +- manual/xml/cleaning_up_a_session.xml | 64 +- manual/xml/clocks.xml | 166 +-- manual/xml/closing_a_session.xml | 153 ++- manual/xml/configuring_usb_device_access.xml | 77 +- manual/xml/contributing_to_the_manual.xml | 16 +- manual/xml/control_surfaces.xml | 23 +- manual/xml/creating_a_new_session.xml | 254 ++-- manual/xml/default_track_names.xml | 26 +- manual/xml/editing_concepts.xml | 580 ++++----- manual/xml/editor_aligning_key_bindings.xml | 118 +- manual/xml/editor_canvas_key_bindings.xml | 193 +-- ...itor_edit_cursor_position_key_bindings.xml | 231 ++-- .../editor_locations_marks_key_bindings.xml | 99 +- .../xml/editor_miscellaneous_key_bindings.xml | 79 +- manual/xml/editor_nudging_key_bindings.xml | 122 +- .../xml/editor_play_position_key_bindings.xml | 212 ++-- .../editor_range_operations_key_bindings.xml | 137 +- .../editor_region_operations_key_bindings.xml | 156 +-- .../editor_standard_editing_key_bindings.xml | 154 +-- manual/xml/editor_window.xml | 132 +- manual/xml/editor_window_controls.xml | 609 ++++----- manual/xml/editor_window_group_list.xml | 30 +- manual/xml/editor_window_key_bindings.xml | 136 +- manual/xml/editor_window_region_list.xml | 254 ++-- manual/xml/editor_window_timeline.xml | 179 +-- manual/xml/editor_window_track_list.xml | 98 +- manual/xml/editor_zoom_key_bindings.xml | 99 +- manual/xml/exporting.xml | 13 +- manual/xml/exporting_to_cd.xml | 306 ++--- manual/xml/formatting_conventions.xml | 238 ++-- manual/xml/frontier_design_tranzport.xml | 995 ++++++++------- manual/xml/general_key_bindings.xml | 215 ++-- manual/xml/generic_midi_control_surface.xml | 8 +- manual/xml/generic_mouse_actions.xml | 124 +- manual/xml/glossary.xml | 541 ++++---- manual/xml/introduction.xml | 37 +- manual/xml/jack.xml | 507 ++++---- manual/xml/key_bindings.xml | 92 +- manual/xml/known_issues.xml | 156 +-- manual/xml/main_windows.xml | 149 +-- manual/xml/midi_configuration.xml | 499 ++++---- manual/xml/mixer_strip_list.xml | 151 +-- manual/xml/mixer_strips.xml | 924 +++++++------- manual/xml/mixer_window.xml | 142 ++- manual/xml/mixer_window_key_bindings.xml | 158 +-- manual/xml/mixing.xml | 15 +- manual/xml/monitoring.xml | 345 ++--- manual/xml/mouse_operations.xml | 53 +- .../xml/mouse_operations_mixer_controls.xml | 353 +++--- manual/xml/mouse_operations_object_mode.xml | 605 ++++----- manual/xml/mouse_operations_range_mode.xml | 179 +-- .../xml/mouse_operations_region_gain_mode.xml | 115 +- manual/xml/mouse_operations_ruler.xml | 185 +-- manual/xml/mouse_operations_zoom_mode.xml | 114 +- manual/xml/mouse_wheel_actions.xml | 134 +- manual/xml/opening_a_session.xml | 91 +- manual/xml/other_windows.xml | 410 +++--- manual/xml/plugins.xml | 97 +- manual/xml/preface.xml | 14 +- manual/xml/recording.xml | 16 +- manual/xml/renaming_tracks.xml | 95 +- manual/xml/saving_a_session.xml | 53 +- manual/xml/sessions.xml | 38 +- manual/xml/setting_up_to_record.xml | 382 +++--- manual/xml/snapshots.xml | 46 +- manual/xml/starting_up_your_system.xml | 17 +- manual/xml/synchronization.xml | 15 +- manual/xml/synchronization_concepts.xml | 286 ++--- manual/xml/templates.xml | 80 +- manual/xml/tracks_and_busses.xml | 556 ++++---- manual/xml/transport_key_bindings.xml | 131 +- manual/xml/user_interface_conventions.xml | 300 ++--- manual/xml/using_existing_audio.xml | 782 ++++++------ manual/xml/video_synchronization_via_mtc.xml | 193 +-- manual/xml/vst_plugins.xml | 69 +- manual/xml/what_is_different_about_ardour.xml | 218 ++-- manual/xml/why_is_it_called_ardour.xml | 375 +++--- manual/xml/working_with_crossfades.xml | 388 +++--- manual/xml/working_with_layers.xml | 247 ++-- manual/xml/working_with_playlists.xml | 405 +++--- manual/xml/working_with_ranges.xml | 48 +- manual/xml/working_with_regions.xml | 1116 +++++++++-------- manual/{xmlformat-1.04 => xmlformat}/BUGS | 0 .../{xmlformat-1.04 => xmlformat}/ChangeLog | 0 manual/{xmlformat-1.04 => xmlformat}/INSTALL | 0 manual/{xmlformat-1.04 => xmlformat}/LICENSE | 0 manual/{xmlformat-1.04 => xmlformat}/README | 0 .../xmlformat-ardour.conf | 11 +- .../xmlformat.pl | 0 100 files changed, 10569 insertions(+), 10094 deletions(-) rename manual/{xmlformat-1.04 => xmlformat}/BUGS (100%) rename manual/{xmlformat-1.04 => xmlformat}/ChangeLog (100%) rename manual/{xmlformat-1.04 => xmlformat}/INSTALL (100%) rename manual/{xmlformat-1.04 => xmlformat}/LICENSE (100%) rename manual/{xmlformat-1.04 => xmlformat}/README (100%) rename manual/{xmlformat-1.04 => xmlformat}/xmlformat-ardour.conf (95%) rename manual/{xmlformat-1.04 => xmlformat}/xmlformat.pl (100%) diff --git a/manual/Makefile b/manual/Makefile index 4fa647f44a..76965262c2 100644 --- a/manual/Makefile +++ b/manual/Makefile @@ -9,6 +9,22 @@ CSSFILE ?= $(DOCNAME).css XSLTPROC ?= xsltproc #PWD = $(shell pwd) +help:: + @echo " The Following is a list of supported build targets:" + @echo + @echo " html:" + @echo " Build HTML version of ardour manual." + @echo + @echo " test:" + @echo " Validate DocBook XML source." + @echo + @echo " format:" + @echo " Format DocBook XML source using xmlformat." + @echo + @echo " clean:" + @echo " Remove temporary files." + @echo + # xsltproc -output option gives I/O errors because??, so # just move the html to the output directory html:: clean @@ -26,10 +42,19 @@ html:: clean .PHONY : html test:: + # validating book xmllint --noout --postvalid --xinclude $(XMLFILE) .PHONY : test +format:: test + @for file in `find xml/*.xml`; \ + do xmlformat/xmlformat.pl --in-place --backup .bak \ + --config-file xmlformat/xmlformat-ardour.conf $$file; \ + done + +.PHONY : format + clean:: @rm -rf $(OUTDIR) diff --git a/manual/xml/adding_tracks.xml b/manual/xml/adding_tracks.xml index 8375f392de..999c65959a 100644 --- a/manual/xml/adding_tracks.xml +++ b/manual/xml/adding_tracks.xml @@ -1,53 +1,47 @@ +
+ Adding Tracks + + To add a new Track or Bus activate the New Track Dialog + - Adding Tracks + + + + Session Add + Track/Bus + + + + + + + + + + In the Add Tracks dialog, choose whether you wish to add a new Track or + a new Bus. + - - To add a new Track or Bus activate the New Track Dialog - + + + + Enter the number of new tracks/busses you want to add. + + + - - - - - Session - Add Track/Bus - - - - - - - - - - - - - In the Add Tracks dialog, choose whether you wish to add a new Track or a new Bus. - - - - - - Enter the number of new tracks/busses you want to add. - - - - - - Choose the I/O configuration of the tracks/busses you are adding using - the clickbox. - - - -
diff --git a/manual/xml/advanced_editing.xml b/manual/xml/advanced_editing.xml index 1a31fc19be..980f333d5c 100644 --- a/manual/xml/advanced_editing.xml +++ b/manual/xml/advanced_editing.xml @@ -5,13 +5,13 @@ ]> - Advanced Editing - - This section of the manual covers various editing techniques that go beyond - basic cutting/trimming/rearranging of regions in a playlist. - - Advanced Editing + + This section of the manual covers various editing techniques that go + beyond basic cutting/trimming/rearranging of regions in a playlist. + + - diff --git a/manual/xml/ardour_basics.xml b/manual/xml/ardour_basics.xml index 7f80a88ba4..d936f317f5 100644 --- a/manual/xml/ardour_basics.xml +++ b/manual/xml/ardour_basics.xml @@ -1,39 +1,29 @@ + - - Ardour Basics - - Ardour Basics + - - - - - - - - - - - - - - - - - diff --git a/manual/xml/ardour_manual.xml b/manual/xml/ardour_manual.xml index 007f5a9c3a..abbed68e2d 100644 --- a/manual/xml/ardour_manual.xml +++ b/manual/xml/ardour_manual.xml @@ -1,4 +1,5 @@ + @@ -6,52 +7,50 @@ ]> - - - - - - - - - - - - - - - - - - - + diff --git a/manual/xml/automation.xml b/manual/xml/automation.xml index 81f5370b25..0f19d0720e 100644 --- a/manual/xml/automation.xml +++ b/manual/xml/automation.xml @@ -5,208 +5,217 @@ ]>
- Automation - - This chapter will explain how to use Ardour's automation facilities to make - editing and mixing your sessions more productive. - + Automation + + This chapter will explain how to use Ardour's automation facilities to + make editing and mixing your sessions more productive. + -
- What is automation? - - Automation refers to Ardour's ability to remember changes you made to - various parameters in the session, and at what point along the timeline - playback had reached when you made them. Later, Ardour can make these - changes happen automatically at the same point on the timeline, thus - leaving your hands free to do something else. A typical practice when using - automation is to work on one or two tracks while leaving others alone, - recording the edits/changes. Once satisfied with the track(s), you can move - on to adjust other tracks. As the overall mix changes, you can return to - earlier tracks and adjust their existing automation. - -
+
+ What is automation? + + Automation refers to Ardour's ability to remember changes you made to + various parameters in the session, and at what point along the + timeline playback had reached when you made them. Later, Ardour can + make these changes happen automatically at the same point on the + timeline, thus leaving your hands free to do something else. A typical + practice when using automation is to work on one or two tracks while + leaving others alone, recording the edits/changes. Once satisfied with + the track(s), you can move on to adjust other tracks. As the overall + mix changes, you can return to earlier tracks and adjust their + existing automation. + +
-
- What can be automated? - - You can automate all changes to track/bus gain control, panning (currently - only for stereo output) and all plugin parameters. Future versions of - Ardour will allow automation of mute/solo controls, non-stereo panning, and - send gain levels. - -
+
+ What can be automated? + + You can automate all changes to track/bus gain control, panning + (currently only for stereo output) and all plugin parameters. Future + versions of Ardour will allow automation of mute/solo controls, + non-stereo panning, and send gain levels. + +
-
- Automation Modes - - Each parameter that can be automated has a button available to control its - state of automation. Each button can be used to put the parameter into one - of 4 possible automation states: - +
+ Automation Modes + + Each parameter that can be automated has a button available to control + its state of automation. Each button can be used to put the parameter + into one of 4 possible automation states: + - - - - Off - - - No changes to the parameter are recorded, and any existing automation - for the parameter is ignored. This is the default. - - - + + + + Off + + + No changes to the parameter are recorded, and any existing + automation for the parameter is ignored. This is the default. + + + - - Play - - - Existing automation data controls the value of the parameter, and - graphical/hardware editing of the value is disabled. - - - + + Play + + + Existing automation data controls the value of the parameter, + and graphical/hardware editing of the value is disabled. + + + - - Write - - - All changes to the parameter are recorded as new automation data, - overwriting any existing data for that point in time. - - - + + Write + + + All changes to the parameter are recorded as new automation + data, overwriting any existing data for that point in time. + + + - - Touch - - - Existing automation data controls the value of the parameter, but new - changes to the parameter are recorded, overwriting any existing data for - that point in time. - - - - -
+ + Touch + + + Existing automation data controls the value of the parameter, + but new changes to the parameter are recorded, overwriting any + existing data for that point in time. + + + + +
-
- Basic Automation Recording -
- Gain and Pan - - Each track/bus has two automation control buttons for gain and pan in its - mixer strip. For each track/bus that you wish to automate, click on the - relevant automation button. From the popup menu that appears (showing all - automation states) choose Record . As long as the - automation state remains in "Record", then any changes you make to gain or - pan for that track/bus will be recorded. - -
+
+ Basic Automation Recording +
+ Gain and Pan + + Each track/bus has two automation control buttons for gain and pan + in its mixer strip. For each track/bus that you wish to automate, + click on the relevant automation button. From the popup menu that + appears (showing all automation states) choose + Record . As long as the automation state + remains in "Record", then any changes you make to gain or pan for + that track/bus will be recorded. + +
-
- Plugin Parameters - - Many plugins have many parameters that you might wish to play while - recording gain automation, so Ardour offers independent control of - recording changes to these parameters. You can access the controls in - either of two ways: - +
+ Plugin Parameters + + Many plugins have many parameters that you might wish to play while + recording gain automation, so Ardour offers independent control of + recording changes to these parameters. You can access the controls + in either of two ways: + - - - - open the plugin's editor window, and click on the appropriate automation - control button. From the menu that pops up, choose - Record - - - - - make the automation track for this parameter visible (see - plugin_automation_tracks on how to do this), and click on the automation - control button in the track controls. From the menu that pops up, choose - Record . - - - + + + + open the plugin's editor window, and click on the appropriate + automation control button. From the menu that pops up, choose + Record + + - - To record edits to the parameter, click on the appropriate - arec button. As long as the button stays pressed, - all edits to that parameter will be recorded. - -
-
+ + + make the automation track for this parameter visible (see + plugin_automation_tracks on how to do this), and click on the + automation control button in the track controls. From the menu + that pops up, choose Record . + + + -
- Basic Automation Playback -
- Gain and Pan - - Each track/bus has two automation control buttons for gain and pan in its - mixer strip. For each track/bus where you want existing automation data to - control gain and/or panning, click on the relevant automation button. From - the popup menu that appears (showing all automation states) choose - Play. As long as the automation state remains in - Play, you can no longer control the gain and/or panning from the - graphical user interface or an external hardware control surface. - -
+ + To record edits to the parameter, click on the appropriate + arec button. As long as the button stays + pressed, all edits to that parameter will be recorded. + +
+
-
- Plugin Parameters - - For each plugin parameter you want controlled by automation data, you need - to activate automation playback which can be done in one of two ways: - +
+ Basic Automation Playback +
+ Gain and Pan + + Each track/bus has two automation control buttons for gain and pan + in its mixer strip. For each track/bus where you want existing + automation data to control gain and/or panning, click on the + relevant automation button. From the popup menu that appears + (showing all automation states) choose + Play. As long as the automation state + remains in Play, you can no longer + control the gain and/or panning from the graphical user interface or + an external hardware control surface. + +
- - - - open the plugin's editor window, and click on the appropriate automation - control button, and choose Play from the menu - that pops up. - - - - - make the automation track for this parameter visible (see - plugin_automation_tracks on how to do this), and click on the automation - control button in the track controls. Choose Play - from the menu that pops up. - - - +
+ Plugin Parameters + + For each plugin parameter you want controlled by automation data, + you need to activate automation playback which can be done in one of + two ways: + - - You also need to enable automation playback for the plugin itself. This - needs to be done in the plugin's editor window by clicking on the - automation button in the upper right corner. Without this step, the - individual parameter buttons will not enable automation playback. - + + + + open the plugin's editor window, and click on the appropriate + automation control button, and choose + Play from the menu that pops up. + + - - The plugin automation button also allows you to globally disable - automation control of all parameters by unsetting it (clicking it so that - it is no longer "pressed"). This leaves the individual automation control - buttons in whatever state they were already in, but it stops the use of - automation data for all parameters. This can be useful if you have a - hardware control surface, and have automation-playback-enabled several - parameters. You can override the automation playback settings and manually - control parameter values from the control surface without having to click - on each parameter's automation control button individually. - -
-
+ + + make the automation track for this parameter visible (see + plugin_automation_tracks on how to do this), and click on the + automation control button in the track controls. Choose + Play from the menu that pops up. + + + -
- Editing Automation Data - - The editor window can display all automation data for a track. Each type of - automation data is shown in its own "track" to make it easy to see the - data, and to edit it. - -
+ + You also need to enable automation playback for the plugin itself. + This needs to be done in the plugin's editor window by clicking on + the automation button in the upper right corner. Without this step, + the individual parameter buttons will not enable automation + playback. + + + + The plugin automation button also allows you to globally disable + automation control of all parameters by unsetting it (clicking it so + that it is no longer "pressed"). This leaves the individual + automation control buttons in whatever state they were already in, + but it stops the use of automation data for all parameters. This can + be useful if you have a hardware control surface, and have + automation-playback-enabled several parameters. You can override the + automation playback settings and manually control parameter values + from the control surface without having to click on each parameter's + automation control button individually. + +
+
+ +
+ Editing Automation Data + + The editor window can display all automation data for a track. Each + type of automation data is shown in its own "track" to make it easy to + see the data, and to edit it. + +
- Basic Recording - - Recording audio is theoretically a very simple process. You have to make - essentially 2 decisions: what are you going to record, and how many channels - will you be recording, then press a couple of buttons and you're recording. - + Basic Recording + + Recording audio is theoretically a very simple process. You have to make + essentially 2 decisions: what are you going to record, and how many + channels will you be recording, then press a couple of buttons and + you're recording. + - - Unfortunately, most recording also requires monitoring—providing some - way to hear what you are recording as you record it, possibly with existing - recorded material as well. Monitoring in Ardour is very flexible, but with - flexibility comes complexity. If you want to try to skip ahead and record - without reading about monitoring, you are welcome to do so. Ardour attempts - to use reasonable defaults for monitoring, but the variety of hardware - setups make it impossible to pick one default that will work for everyone. - + + Unfortunately, most recording also requires monitoring—providing + some way to hear what you are recording as you record it, possibly with + existing recorded material as well. Monitoring in Ardour is very + flexible, but with flexibility comes complexity. If you want to try to + skip ahead and record without reading about monitoring, you are welcome + to do so. Ardour attempts to use reasonable defaults for monitoring, but + the variety of hardware setups make it impossible to pick one default + that will work for everyone. + - - For this reason, you are strongly recommended to spend a few minutes - understanding , because otherwise you're - going to get very confused and possibly irritated. - + + For this reason, you are strongly recommended to spend a few minutes + understanding , because otherwise you're + going to get very confused and possibly irritated. + -
- Recording a single audio track - - These steps can all be taken directly within the Editor window, although - most of them can also be done via Mixer window if you prefer. - -
+
+ Recording a single audio track + + These steps can all be taken directly within the Editor window, + although most of them can also be done via Mixer window if you prefer. + +
-
- Setting up a new track for recording - - - - Choose Session Add - Track/Bus . This will popup a dialog allowing - you to choose how many tracks to add, and what basic I/O configuration - the track will have (mono, stereo, etc.). You can change I/O - configurations for tracks at any time. - - - - - Make the editor's dedicated mixer strip visible by clicking on the - Editor Mixer button located at the left end of the - transport bar. - - - In Ardour2, there is no Editor Mixer button, but - you can make the mixer strip visible by selecting - View Show Editor Mixer - , or by pressing - ShiftE on the - keyboard. - - - - - -
- Selecting the source to record - - - - Check the input configuration for the new track. Click on its control - area. A mixer strip appears in the editor for this track. Click on the - Input button near the top of the strip, and - select Edit from the menu. The standard I/O - dialog pops up to let you connect the track to whichever JACK port you - want to record from. - - - - - Rename the track. This is an important step in helping you make sense of - your session, because track names are used when naming newly created - regions. - - - - - Click on the track's record-enable button to record enable the track. - You can use the r button in the track control - area or the record button of the mixer strip. The - button will turn pink. - - - - - Adjust the output level of the sound source to the a level where the - loudest input drives the meter in the mixer strip close to, but not - over, 0dB. The mixer strip will show the incoming signal level, along - with peak indicators - - - - - If you are using software monitoring, adjust the output volume and - possibly panning if desired. These settings do not affect the recorded - material. - - - - - Check the output configuration for the new track. Click on the - Output button near the bottom of the strip, and - select Edit from the menu. Make sure the - track's output is connected as you intend. - +
+ Setting up a new track for recording + + + + Choose Session Add + Track/Bus . This will popup a dialog + allowing you to choose how many tracks to add, and what basic I/O + configuration the track will have (mono, stereo, etc.). You can + change I/O configurations for tracks at any time. + + + + + Make the editor's dedicated mixer strip visible by clicking on the + Editor Mixer button located at the left end + of the transport bar. + + + In Ardour2, there is no Editor Mixer + button, but you can make the mixer strip visible by selecting + View Show Editor + Mixer , or by pressing + ShiftE + on the keyboard. + + + + + +
+ Selecting the source to record + + + + Check the input configuration for the new track. Click on its + control area. A mixer strip appears in the editor for this + track. Click on the Input button near the + top of the strip, and select Edit + from the menu. The standard I/O dialog pops up to let you + connect the track to whichever JACK port you want to record + from. + + + + + Rename the track. This is an important step in helping you make + sense of your session, because track names are used when naming + newly created regions. + + + + + Click on the track's record-enable button to record enable the + track. You can use the r button in the + track control area or the record button + of the mixer strip. The button will turn pink. + + + + + Adjust the output level of the sound source to the a level where + the loudest input drives the meter in the mixer strip close to, + but not over, 0dB. The mixer strip will show the incoming signal + level, along with peak indicators + + + + + If you are using software monitoring, adjust the output volume + and possibly panning if desired. These settings do not affect + the recorded material. + + + + + Check the output configuration for the new track. Click on the + Output button near the bottom of the strip, + and select Edit from the menu. Make sure + the track's output is connected as you intend. + - - - by default (and when not using a session template that works otherwise) - mono tracks have mono outputs, meaning that you cannot pan them. - - -
-
+ + + by default (and when not using a session template that works + otherwise) mono tracks have mono outputs, meaning that you cannot + pan them. + + +
+
-
- To record to the new audio track - - - - If necessary, setup the session's default meter and tempo by on the - initial meter and tempo markers. - - - - - If desired, enable the click track in the transport bar. - - - - - Click on the Record button of the transport - window, which will start to flash. - - - - - When you are ready to record, click the Play - button in the transport window. - - - - - When you have finished recording, click the Stop - button in the transport window. - - - - - If desired, click the track's record-enable button to disengage - record-enable for this track. - - - - - The audio you recorded will be written to a new audio file stored on one of - your disks. In the editor, a new region will appear in the track display - area and also in the region list display. - -
+
+ To record to the new audio track + + + + If necessary, setup the session's default meter and tempo by on + the initial meter and tempo markers. + + + + + If desired, enable the click track in the transport bar. + + + + + Click on the Record button of the + transport window, which will start to flash. + + + + + When you are ready to record, click the + Play button in the transport window. + + + + + When you have finished recording, click the + Stop button in the transport window. + + + + + If desired, click the track's record-enable button to disengage + record-enable for this track. + + + + + The audio you recorded will be written to a new audio file stored on + one of your disks. In the editor, a new region will appear in the + track display area and also in the region list display. + +
-
- To play back the new audio track - - - - Press the Home key (or - CtrlA) to return - the playhead to the start of the track - - - - - In the transport bar click on the Play button, or - press the spacebar. - - - - - Adjust the track's volume as necessary, using either the mixer strip in - the editor, or the corresponding strip in the mixer window. - - - -
+
+ To play back the new audio track + + + + Press the Home key (or + CtrlA) to + return the playhead to the start of the track + + + + + In the transport bar click on the Play + button, or press the spacebar. + + + + + Adjust the track's volume as necessary, using either the mixer + strip in the editor, or the corresponding strip in the mixer + window. + + + +
-
- Cancelling a take - -
+
+ Cancelling a take + +
-
- Recording multiple tracks - - Multiple tracks can easily be recorded simultaneously by record-enabling - each track you would like to record. - -
+
+ Recording multiple tracks + + Multiple tracks can easily be recorded simultaneously by + record-enabling each track you would like to record. + +
-
- Recording additional takes - -
+
+ Recording additional takes + +
-
- Appending new material - -
+
+ Appending new material + +
-
- Recording into a new playlist - - There is a p button in the track controls. If you - press it and select new playlist, the contents - will be cleared, allowing you to construct a new arrangement of recordings. - You can recall your playlist later by using the same button and selecting - select.... This will open a window displaying - all the playlists you have recorded on that track. Select the one you want - and proceed. Playlists from other tracks can also be selected.. in fact you - can have the same playlist on two different tracks if you feel it - necessary. - -
+
+ Recording into a new playlist + + There is a p button in the track controls. If + you press it and select new playlist, the + contents will be cleared, allowing you to construct a new arrangement + of recordings. You can recall your playlist later by using the same + button and selecting select.... This will + open a window displaying all the playlists you have recorded on that + track. Select the one you want and proceed. Playlists from other + tracks can also be selected.. in fact you can have the same playlist + on two different tracks if you feel it necessary. + +
-
- Punch Recording - - You can automate the portion of a track to be recorded using the punch - functions. This is most often implemented when a portion of a particular - take is problematic but an adjacent portion is good. In order to punch - record, the punch range must be set. - -
+
+ Punch Recording + + You can automate the portion of a track to be recorded using the punch + functions. This is most often implemented when a portion of a + particular take is problematic but an adjacent portion is good. In + order to punch record, the punch range must be set. + +
-
- Loop Recording - -
+
+ Loop Recording + +
-
- Setting Punch/Loop Points - -
+
+ Setting Punch/Loop Points + +
-
- Using Pre- and Post-Roll - -
+
+ Using Pre- and Post-Roll + +
]> - - Ardour Manual - 1.0 - 2.0 - - - This is the manual for Ardour, a digital audio workstation for Linux - and MacOSX. This manual is jointly created and edited by the Ardour - community. It may be published in paper format at some time in the - future. - - - - + + Ardour Manual + 1.0 + 2.0 + + + This is the manual for Ardour, a digital audio workstation for Linux + and MacOSX. This manual is jointly created and edited by the Ardour + community. It may be published in paper format at some time in the + future. + + + N/A - - - - - - - - - - - - - - - - - - - 2007 - Ardour Foundation - - + + + + + + + + + + + + + + + + 2007 + Ardour Foundation + - - diff --git a/manual/xml/cleaning_up_a_session.xml b/manual/xml/cleaning_up_a_session.xml index 8b0077137f..9a5e3d9bc9 100644 --- a/manual/xml/cleaning_up_a_session.xml +++ b/manual/xml/cleaning_up_a_session.xml @@ -1,45 +1,43 @@ +
+ Cleaning up a Session + + placeholder text: needs editing and references to menu items + - Cleaning up a Session - - - placeholder text: needs editing and references to menu items - - - Cleanup looks for audio files that were recorded by ardour for this - session, but are no longer in use. "In use" means "present in any - playlist in any snapshot of the session". If you have unused playlists - (e.g. alternate takes) cleanup will volunteer to delete them for you. - then it will search all snapshots (including the one you are working - with), and move all unused captured audio files into the "dead_sounds" - directory within the session. At this point, you could still - potentially get material that was "cleaned up" back, though its quite - tricky to do. - - - - It is advisable, even firmly recommended that after this cleanup - step, you save the session, exit ardour and restart. This will enable - you to confirm that the session still works as expected. If all goes - well (and it should), you can then do the 2nd phase cleanup, which will - remove the files from the dead_sounds directory (at which point, - the material is not recoverable without backups on your part). - - - - Note that the presence of snapshots can cause user confusion, as in - "why didn’t cleanup do anything?" The answer is frequently that there - are all capture audio files are in use in this snapshot or in others. - + + Cleanup looks for audio files that were recorded by ardour for this + session, but are no longer in use. "In use" means "present in any + playlist in any snapshot of the session". If you have unused playlists + (e.g. alternate takes) cleanup will volunteer to delete them for you. + then it will search all snapshots (including the one you are working + with), and move all unused captured audio files into the "dead_sounds" + directory within the session. At this point, you could still potentially + get material that was "cleaned up" back, though its quite tricky to do. + - -
diff --git a/manual/xml/clocks.xml b/manual/xml/clocks.xml index e1321a6a56..aa3ba8fd6b 100644 --- a/manual/xml/clocks.xml +++ b/manual/xml/clocks.xml @@ -5,91 +5,99 @@ ]>
- Clocks - - There are several clock displays in the user interface for Ardour: - + Clocks + + There are several clock displays in the user interface for Ardour: + - - - - Primary transport clock - - - - - Secondary transport clock - - - - - Nudge clock - - - - - Region position and length clocks - - - - - SMPTE offset clock - - - + + + + Primary transport clock + + - - and more. All of these clocks provide the same operations and can be used in - the same way. - + + + Secondary transport clock + + -
- Clock Operations -
- Changing Clock Mode - - All clocks can be used in any one of 5 modes: - + + + Nudge clock + + - - - - SMPTE time - - - - - BBT time - - - - - Audio frames - - - - - Minutes:Seconds - - - - - Off - - - + + + Region position and length clocks + + - - To change clock modes, simply ContextClick on the clock, and select the - desired mode from the popup menu. - -
+ + + SMPTE offset clock + + + -
- Editing Clock Values - -
-
+ + and more. All of these clocks provide the same operations and can be + used in the same way. + + +
+ Clock Operations +
+ Changing Clock Mode + + All clocks can be used in any one of 5 modes: + + + + + + SMPTE time + + + + + + BBT time + + + + + + Audio frames + + + + + + Minutes:Seconds + + + + + + Off + + + + + + To change clock modes, simply ContextClick on the clock, and select + the desired mode from the popup menu. + +
+ +
+ Editing Clock Values + +
+
-
diff --git a/manual/xml/configuring_usb_device_access.xml b/manual/xml/configuring_usb_device_access.xml index 6bfbd5d22c..88781b018b 100644 --- a/manual/xml/configuring_usb_device_access.xml +++ b/manual/xml/configuring_usb_device_access.xml @@ -5,34 +5,35 @@ ]>
- Configuring USB device access (Linux only) - - Linux is by default a multi-user system, so it has to have a policy to - determine who can access various devices. This includes those that can be - plugged into to a USB port. - + Configuring USB device access (Linux only) + + Linux is by default a multi-user system, so it has to have a policy to + determine who can access various devices. This includes those that can + be plugged into to a USB port. + - - For devices known to the operating system (which these days includes most - digital cameras, scanners, MIDI interfaces etc.), a logged-in user will be - granted access automatically. However, for devices that the OS doesn't - recognize (even if there is software on it that can use it), this is not the - case. It is possible to configure Linux to reverse this policy and grant all - users access to all devices, but this is not recommended for security - reasons. - + + For devices known to the operating system (which these days includes + most digital cameras, scanners, MIDI interfaces etc.), a logged-in user + will be granted access automatically. However, for devices that the OS + doesn't recognize (even if there is software on it that can use it), + this is not the case. It is possible to configure Linux to reverse this + policy and grant all users access to all devices, but this is not + recommended for security reasons. + -
- Configuring Access to a Frontier Design Tranzport - - Using the Tranzport on Linux requires a couple of extra steps to enable - non-administrative users to access the device. - +
+ Configuring Access to a Frontier Design Tranzport + + Using the Tranzport on Linux requires a couple of extra steps to + enable non-administrative users to access the device. + - - First, you need to login as the administrative user ("root"). Then put the - following into a new file called /etc/hotplug/usb/tranzport - + + First, you need to login as the administrative user ("root"). Then put + the following into a new file called + /etc/hotplug/usb/tranzport + #!/bin/sh @@ -41,26 +42,26 @@ if [ $ACTION = "add" ] && [ -f $DEVICE ] ; then fi exit 0 - - Then make sure that the file is executable by running - + + Then make sure that the file is executable by running + chmod +x /etc/hotplug/usb/tranzport - - Second, edit the file /etc/hotplug/usb.usermap by adding the following 2 - lines to the end of it (make sure that the 2nd line is not split across - multiple lines, even though it is very long): - + + Second, edit the file /etc/hotplug/usb.usermap by + adding the following 2 lines to the end of it (make sure that the 2nd + line is not split across multiple lines, even though it is very long): + # Frontier Design Tranzport tranzport 0x0000 0x165b 0x8101 0x0000 0x0000 0x00 0x00 0x00 0x00 0x00 0x00 0x00000000 - - After doing these steps, the next time you plugin your Tranzport it will be - accessible to you as a regular user. - -
+ + After doing these steps, the next time you plugin your Tranzport it + will be accessible to you as a regular user. + +
- diff --git a/manual/xml/control_surfaces.xml b/manual/xml/control_surfaces.xml index 9c6b29093b..3d9bdd2069 100644 --- a/manual/xml/control_surfaces.xml +++ b/manual/xml/control_surfaces.xml @@ -5,20 +5,21 @@ ]> - Using Control Surfaces - - You can use a variety of different control surfaces with Ardour. We - anticipate full support for a new class of control surfaces (those using the - Mackie Control protocol) by the mid-summer of 2006, possibly earlier. - - Using Control Surfaces + + You can use a variety of different control surfaces with Ardour. We + anticipate full support for a new class of control surfaces (those using + the Mackie Control protocol) by the mid-summer of 2006, possibly + earlier. + + - - - - diff --git a/manual/xml/creating_a_new_session.xml b/manual/xml/creating_a_new_session.xml index 65d37d9475..d969f04d78 100644 --- a/manual/xml/creating_a_new_session.xml +++ b/manual/xml/creating_a_new_session.xml @@ -1,148 +1,138 @@ +
+ Creating a new Session + + The first step in starting a new project with Ardour is to create a new + session. When you do this, Ardour creates a new folder named after your + session, and stores differents kinds of files and subfolders within it. + The two most important subfolders are sounds which + contains all the audio recorded or imported for the session and + automation which contains automation data for + various parts of the session. + - Creating a new Session + + When you start ardour without specifying an existing session, it + automatically brings up the new session dialog. If you want to create a + new session at other times, choose + Session New Session + . + + + + + + + + Enter a name for the new session. You can use any characters you like as + part of the name, but you should know that more or less anything other + than alphabetic and numeric characters will be converted to underscores + to form the name of the session folder. + - - The first step in starting a new project with Ardour is to create a - new session. When you do this, Ardour creates a new folder named after - your session, and stores differents kinds of files and subfolders - within it. The two most important subfolders are - sounds which contains all the audio recorded or - imported for the session and automation which - contains automation data for various parts of the session. - - - - When you start ardour without specifying an existing session, it - automatically brings up the new session dialog. If you want to create a - new session at other times, choose - - Session - New Session - . - - - - - - - - - - Enter a name for the new session. You can use any characters you - like as part of the name, but you should know that more or less - anything other than alphabetic and numeric characters will be converted - to underscores to form the name of the session folder. - - - - Next, choose where you want to store the new session folder. If its - not in your current working folder, click on the browse button to - expand the file selector, and then navigate to your desired location. - + + Next, choose where you want to store the new session folder. If its not + in your current working folder, click on the browse button to expand the + file selector, and then navigate to your desired location. + + + + + + +
+ Input and Output Configuration + + Next, configure the basic IO setup for the session. You have several + choices here, and doing nothing is one of them. This will give you a + session that includes: + - - - - - + + + + a stereo master bus with its outputs connected to the first two + outputs of your audio interface + + -
+ + + all new track will have their outputs sent to the master bus + + - Input and Output Configuration - - - Next, configure the basic IO setup for the session. You have - several choices here, and doing nothing is one of them. This will give - you a session that includes: - + + + all new track inputs will be connected to Ardour’s best guess at + the relevant input of your audio interface. + + + - + + However, if you want more control over this, click on the expander + next to Advanced options label to show the full + set of options: + + + + + + + + There are two options available for track input configuration: + autoconnect or manual. If you select autoconnect (the default) then + new tracks will be connected to an input of your audio interface. If + you select manual, it will be up to you to configure the input for + each track. + - - - a stereo master bus with its outputs connected to the first two outputs of - your audio interface - - - - - all new track will have their outputs sent to the master bus - - - - - all new track inputs will be connected to Ardour’s best guess at the relevant - input of your audio interface. - - + + For output, the first two choices are whether to have control and + master outs. Most DAWs assume the presence of master outs, and few (if + any) offer control outs. + - - - - However, if you want more control over this, click on the expander next to - Advanced options label to show the full set of options: - - - - - - - +
+ Master Outputs + + A Master out is a bus to which all (or most) tracks and other busses + send their output. It provides a convenient single point of control + for the output of ardour, and is a typical location for global + effects. Because of this, using master outs is enabled by default, + and the master out bus is setup to be stereo (2 inputs, 2 outputs). + However, if you are feeding Ardour’s output through a hardware + mixing console, you may not want master outs. In such cases, disable + them by clicking on the radio button next to “Use master outs”. + Alternatively, you may want some other channel configuration for the + master output (for example, 8 channel surround sound). Select this + by using the clickbox (see clickboxes) next to the radio button. + +
- - There are two options available for track input configuration: - autoconnect or manual. If you select autoconnect (the default) then new - tracks will be connected to an input of your audio interface. If you - select manual, it will be up to you to configure the input for each - track. - - - - For output, the first two choices are whether to have control and - master outs. Most DAWs assume the presence of master outs, and few (if - any) offer control outs. - - -
- Master Outputs - - A Master out is a bus to which all (or most) tracks and other - busses send their output. It provides a convenient single point of - control for the output of ardour, and is a typical location for global - effects. Because of this, using master outs is enabled by default, and - the master out bus is setup to be stereo (2 inputs, 2 outputs). - However, if you are feeding Ardour’s output through a hardware mixing - console, you may not want master outs. In such cases, disable them by - clicking on the radio button next to “Use master outs”. Alternatively, - you may want some other channel configuration for the master output - (for example, 8 channel surround sound). Select this by using the - clickbox (see clickboxes) next to the radio button. - -
- -
- Control Outputs - - Control outs are unusual for DAWs, but because Ardour is designed - to be as flexible as possible, and in particular is intended to be - useful as a live mixer, they are included here. Using control outs - provides you with a dedicated bus to which all tracks have an - additional output connection. As well as feeding their regular outputs, - they send data to the control outs as well. In an unadjusted session, - this means that the control outs carry the same signal as the master - outs. However, once you start soloing tracks, the control outs will - carry only soloed tracks while the master outs continue to carry the - entire mix. A typical use of control outs is when doing live stage - work. The mix engineer will be listening to the control outs, and can - therefore solo tracks without affecting the signal being sent to the - master outs (the main speakers). - -
-
+
+ Control Outputs + + Control outs are unusual for DAWs, but because Ardour is designed to + be as flexible as possible, and in particular is intended to be + useful as a live mixer, they are included here. Using control outs + provides you with a dedicated bus to which all tracks have an + additional output connection. As well as feeding their regular + outputs, they send data to the control outs as well. In an + unadjusted session, this means that the control outs carry the same + signal as the master outs. However, once you start soloing tracks, + the control outs will carry only soloed tracks while the master outs + continue to carry the entire mix. A typical use of control outs is + when doing live stage work. The mix engineer will be listening to + the control outs, and can therefore solo tracks without affecting + the signal being sent to the master outs (the main speakers). + +
+
diff --git a/manual/xml/default_track_names.xml b/manual/xml/default_track_names.xml index cad4345ca9..e16d152e4b 100644 --- a/manual/xml/default_track_names.xml +++ b/manual/xml/default_track_names.xml @@ -5,18 +5,18 @@ ]>
- Default Track Names - - When a track is added to the session it is given a default name based on the - Track type. For example, the first audio track that is added to the session - will be given the name Audio 1 and the first bus will be - called Bus 1 and any subsequently added tracks will be - consecutively numbered. - + Default Track Names + + When a track is added to the session it is given a default name based on + the Track type. For example, the first audio track that is added to the + session will be given the name Audio 1 and the first + bus will be called Bus 1 and any subsequently added + tracks will be consecutively numbered. + - - Track names determine the names of the files created when recording to a - track so it is suggested that meaningful names are given to tracks, see - - + + Track names determine the names of the files created when recording to a + track so it is suggested that meaningful names are given to tracks, see + +
diff --git a/manual/xml/editing_concepts.xml b/manual/xml/editing_concepts.xml index 354ef8db95..c73bb00c2a 100644 --- a/manual/xml/editing_concepts.xml +++ b/manual/xml/editing_concepts.xml @@ -5,321 +5,335 @@ ]>
- Editing Concepts - - In Ardour, "editing" describes the process of - + Editing Concepts + + In Ardour, "editing" describes the process of + - - - - making modifications to playlists. Recall that - playlists are nothing more - than lists of regions arranged - over time. - - - - - recording/modifying automation data - - - + + + + making modifications to playlists. Recall that + playlists are nothing + more than lists of + regions arranged over + time. + + -
- Cut/Copy/Paste - -
+ + + recording/modifying automation data + + + -
- Snap Settings - - By default, when you move objects around, they move freely. There - is a "granularity" to the motion, but it is a single - audio frame (so typically on the order of 1/48000'th or 1/96000'th of a - second), and at most zoom levels it will not be apparent in any way. - +
+ Cut/Copy/Paste + +
- - However, this is not always the way you want to move some kinds of objects. - If you are working with structured compositions that utilize traditional - concepts of bars, beats, rythmn and so forth, you will often want to move - regions so that that they always align to specific periodic time points - that correspond to the start of a bar, or a beat etc. If you are working on - a movie soundtrack, you may prefer to have regions always align to SMPTE - frames, or perhaps even to whole seconds. - +
+ Snap Settings + + By default, when you move objects around, they move freely. There + is a "granularity" to the motion, but it is a + single audio frame (so typically on the order of 1/48000'th or + 1/96000'th of a second), and at most zoom levels it will not be + apparent in any way. + - - Ardour provides a wide variety of "snap" settings. If any but "None" is - selected, they define a grid of timepoints which will be used to "snap" - object positions as they are dragged. The grid can be regular (as is the - case if you choose "Beats", for example), or it can be completely irregular - (if you choose "Marks", for example). It can even consist of a - single timepoint (if you choose "Edit cursor", for - example). - + + However, this is not always the way you want to move some kinds of + objects. If you are working with structured compositions that utilize + traditional concepts of bars, beats, rythmn and so forth, you will + often want to move regions so that that they always align to specific + periodic time points that correspond to the start of a bar, or a beat + etc. If you are working on a movie soundtrack, you may prefer to have + regions always align to SMPTE frames, or perhaps even to whole + seconds. + - - Possible Snap Settings - - None - - - no alignment used at all - - - + + Ardour provides a wide variety of "snap" settings. If any but "None" + is selected, they define a grid of timepoints which will be used to + "snap" object positions as they are dragged. The grid can be regular + (as is the case if you choose "Beats", for example), or it can be + completely irregular (if you choose "Marks", for example). It can even + consist of a single timepoint (if you choose + "Edit cursor", for example). + - - CD Frames - - - align to 1/75th of a second intervals, as defined by the "Redbook" Audio - CD standards - - - + + Possible Snap Settings + + None + + + no alignment used at all + + + - - SMPTE Frames - - - align to whatever the current SMPTE frame interval is (defined in the - options editor) - - - + + CD Frames + + + align to 1/75th of a second intervals, as defined by the + "Redbook" Audio CD standards + + + - - SMPTE Seconds - - - align to whole seconds, adjusted to account for any SMPTE start offset - - - + + SMPTE Frames + + + align to whatever the current SMPTE frame interval is (defined + in the options editor) + + + - - SMPTE Minutes - - - align to whole minutes, adjust to account for any SMPTE start offset - - - + + SMPTE Seconds + + + align to whole seconds, adjusted to account for any SMPTE start + offset + + + - - Seconds - - - align to whole seconds - - - + + SMPTE Minutes + + + align to whole minutes, adjust to account for any SMPTE start + offset + + + - - Minutes - - - align to whole minutes - - - + + Seconds + + + align to whole seconds + + + - - Beats/32 - - - align to 1/32 divisions of the beat - - - + + Minutes + + + align to whole minutes + + + - - Beats/16 - - - align to 1/16 divisions of the beat - - - + + Beats/32 + + + align to 1/32 divisions of the beat + + + - - Beats/8 - - - align to 1/8 divisions of the beat - - - + + Beats/16 + + + align to 1/16 divisions of the beat + + + - - Beats/4 - - - align to 1/4 divisions of the beat - - - + + Beats/8 + + + align to 1/8 divisions of the beat + + + - - Beats/3 - - - align to 1/3 divisions of the beat - - - + + Beats/4 + + + align to 1/4 divisions of the beat + + + - - Beats - - - align to beats - - - + + Beats/3 + + + align to 1/3 divisions of the beat + + + - - Bars - - - align to the start of bars - - - + + Beats + + + align to beats + + + - - Marks - - - align to the nearest mark of some kind - - - + + Bars + + + align to the start of bars + + + - - Edit Cursor - - - align to the current position of the edit cursor - - - + + Marks + + + align to the nearest mark of some kind + + + - - Region starts - - - align to the nearest start of a region in the (first) selected track - - - + + Edit Cursor + + + align to the current position of the edit cursor + + + - - Region ends - - - align to the nearest end of a region in the (first) selected track - - - + + Region starts + + + align to the nearest start of a region in the (first) selected + track + + + - - Region syncs - - - align to the nearest region sync point in the (first) selected track - - - + + Region ends + + + align to the nearest end of a region in the (first) selected + track + + + - - Region bounds - - - align to the nearest region start or end in the (first) selected track - - - - + + Region syncs + + + align to the nearest region sync point in the (first) selected + track + + + -
- To change snap settings - - Move the mouse pointer to the toolbar panel of the editor window. Click on - the "expansion arrow" of the "Snap setting" chooser. This will popup a - list of available snap settings. If necessary, scroll down to see your - desired choice. Click on your choice in the list to dismiss it and make - Ardour switch to the new setting. - + + Region bounds + + + align to the nearest region start or end in the (first) selected + track + + + + - - - Changing snap settings has no effect on the position - of any existing region. Its effect is only on objects being moved. - - - - - The snap setting also affects moving the playhead, the edit cursor, - loop/punch and location markers, and dragging/moving range selections. - - -
+
+ To change snap settings + + Move the mouse pointer to the toolbar panel of the editor window. + Click on the "expansion arrow" of the "Snap setting" chooser. This + will popup a list of available snap settings. If necessary, scroll + down to see your desired choice. Click on your choice in the list to + dismiss it and make Ardour switch to the new setting. + -
- Snap Mode - - There are two subtly different ways in which the snap setting can affect - region motion: - + + + Changing snap settings has no effect on the + position of any existing region. Its effect is only on objects + being moved. + + + + + The snap setting also affects moving the playhead, the edit + cursor, loop/punch and location markers, and dragging/moving range + selections. + + +
- - - - normal snap mode - - - regions can only be moved to positions defined by the snap setting. It - is not possible to move them to intermediate positions. - - - +
+ Snap Mode + + There are two subtly different ways in which the snap setting can + affect region motion: + - - magnetic snap mode - - - regions can still be moved to positions not defined by the setting, but - they "stick" to the timepoints that are when dragged across them. - Imagine that the timepoints and the regions are magnetic - or just try - it and see. - - - - + + + + normal snap mode + + + regions can only be moved to positions defined by the snap + setting. It is not possible to move them to intermediate + positions. + + + - - However, you can press the snap modifier key while - dragging, and the snap setting will be ignored. By default, this is the - key on your keyboard that generates Mod3 , but you - can modify this from the Options Editor keyboard tab. - -
+ + magnetic snap mode + + + regions can still be moved to positions not defined by the + setting, but they "stick" to the timepoints that are when + dragged across them. Imagine that the timepoints and the + regions are magnetic - or just try it and see. + + + + -
- To change snap mode - - Move the mouse pointer to the toolbar panel of the editor window. Click on - the "expansion arrow" of the "Snap mode" chooser. This will popup a list - of available snap settings. If necessary, scroll down to see your desired - choice. Click on your choice in the list to dismiss it and make Ardour - switch to the new setting. - -
-
+ + However, you can press the snap modifier key + while dragging, and the snap setting will be ignored. By default, + this is the key on your keyboard that generates + Mod3 , but you can modify this from the + Options Editor keyboard tab. + +
+ +
+ To change snap mode + + Move the mouse pointer to the toolbar panel of the editor window. + Click on the "expansion arrow" of the "Snap mode" chooser. This will + popup a list of available snap settings. If necessary, scroll down + to see your desired choice. Click on your choice in the list to + dismiss it and make Ardour switch to the new setting. + +
+
-
diff --git a/manual/xml/editor_edit_cursor_position_key_bindings.xml b/manual/xml/editor_edit_cursor_position_key_bindings.xml index b9e8043192..1190e3efa7 100644 --- a/manual/xml/editor_edit_cursor_position_key_bindings.xml +++ b/manual/xml/editor_edit_cursor_position_key_bindings.xml @@ -1,124 +1,133 @@ +
+ Moving the Edit Cursor + + Edit Cursor Position Key Bindings + + + + + + + Key Binding + - Moving the Edit Cursor + + Action + + + + + + + e + -
- Edit Cursor Position Key Bindings - - - - - - - Key Binding - - - Action - - - - - - - e - - - - position edit cursor at mouse pointer - - - - - AltReturn - - - - move edit cursor to playhead - - - - - [ - - - - move edit cursor to earlier region start - - - - - Ctrl[ - - - - move edit cursor to earlier region end - - - - - ] - - - - move edit cursor to next region start - - - - - Ctrl] - - - - move edit cursor to next region end - - - - - ””’ - - - - move edit cursor to next region sync - - - - - ; - - - - moved edit cursor to previous region sync - - - - - F1 - - - - move edit cursor to start of range selection (if defined) - - - - - F2 - - - move edit cursor to end of range selection (if defined) - - - - -
+ + position edit cursor at mouse pointer + + - -
diff --git a/manual/xml/editor_locations_marks_key_bindings.xml b/manual/xml/editor_locations_marks_key_bindings.xml index c43640b1c2..d83c446578 100644 --- a/manual/xml/editor_locations_marks_key_bindings.xml +++ b/manual/xml/editor_locations_marks_key_bindings.xml @@ -1,63 +1,62 @@ +
+ Locations and Marks + + Locations and Marks Key Bindings + + + + + + + Key Binding + - Locations and Marks + + Action + + + + + + + Enter (keypad) + -
- Locations and Marks Key Bindings - - - - - - - Key Binding - - - Action - - - - - - - Enter - - (keypad) - - - create a new marker at the playhead location - - - - - Keypad > - - - - move playhead to next marker - - - - - Keypad < - - - - move playhead to previous marker - - - - -
+ + create a new marker at the playhead location + + - -
diff --git a/manual/xml/editor_miscellaneous_key_bindings.xml b/manual/xml/editor_miscellaneous_key_bindings.xml index f6a05c485c..1fd40d13ea 100644 --- a/manual/xml/editor_miscellaneous_key_bindings.xml +++ b/manual/xml/editor_miscellaneous_key_bindings.xml @@ -1,53 +1,52 @@ +
+ Miscellaneous + + Miscellaneous Key Bindings + + + + + + + Key Binding + - Miscellaneous + + Action + + + + + + + l + -
- Miscellaneous Key Bindings - - - - - - - Key Binding - - - Action - - - - - - - l - - - - toggle auto loop - - - - - f - - - - toggle follow playhead - - - - -
+ + toggle auto loop + + - -
diff --git a/manual/xml/editor_nudging_key_bindings.xml b/manual/xml/editor_nudging_key_bindings.xml index fa3110d8c6..8c0560d0b8 100644 --- a/manual/xml/editor_nudging_key_bindings.xml +++ b/manual/xml/editor_nudging_key_bindings.xml @@ -1,73 +1,73 @@ +
+ Nudging Key Bindings + + Nudging Key Bindings + + + + + + + Key Binding + - Nudging Key Bindings + + Action + + + + + + + + (keypad) + -
- Nudging Key Bindings - - - - - - - Key Binding - - - Action - - - - - - - + - - (keypad) - - - nudge forward - - - - - Ctrl+ - - (keypad) - - - nudge next forward - - - - - - - - (keypad) - - - nudge backward - - - - - Ctrl- - - - - nudge next backward - - - - -
- -
diff --git a/manual/xml/editor_play_position_key_bindings.xml b/manual/xml/editor_play_position_key_bindings.xml index d48568417a..52024cbb59 100644 --- a/manual/xml/editor_play_position_key_bindings.xml +++ b/manual/xml/editor_play_position_key_bindings.xml @@ -5,108 +5,116 @@ ]>
- Moving the Playhead - - Play Position Key Bindings - - - - - - - Key Binding - - - Action - - - - - - - p - - - - position playhead at mouse pointer - - - - - Return - - - - move playhead to edit cursor - - - - - Tab - - - - move playhead to later region start - - - - - CtrlTab - - - - move playhead to later region end - - - - - ` - - - - move playhead to earlier region start - - - - - Ctrl` - - - - move playhead to next mark - - - - - | - - (keypad) - - - move playhead to previous mark - - - - - Ctrll - - - - center screen around playhead - - - - - Ctrlg - - - - goto - - - - -
+ Moving the Playhead + + Play Position Key Bindings + + + + + + + Key Binding + + + + Action + + + + + + + p + + + + position playhead at mouse pointer + + + + + + Return + + + + move playhead to edit cursor + + + + + + Tab + + + + move playhead to later region start + + + + + + CtrlTab + + + + move playhead to later region end + + + + + + ` + + + + move playhead to earlier region start + + + + + + Ctrl` + + + + move playhead to next mark + + + + + + | (keypad) + + + + move playhead to previous mark + + + + + + Ctrll + + + + center screen around playhead + + + + + + Ctrlg + + + + goto + + + + +
-
diff --git a/manual/xml/editor_region_operations_key_bindings.xml b/manual/xml/editor_region_operations_key_bindings.xml index ed3d429f87..e830c2c338 100644 --- a/manual/xml/editor_region_operations_key_bindings.xml +++ b/manual/xml/editor_region_operations_key_bindings.xml @@ -1,88 +1,92 @@ +
+ Region Operations Key Bindings + + Region Operation Key Bindings + + + + + + + Key Binding + - Region Operations Key Bindings + + Action + + + + + + + s + -
- Region Operation Key Bindings - - - - - - - Key Binding - - - Action - - - - - - - s - - - - split region(s) at mouse - - - - - Alts - - - - split region(s) at edit cursor - - - - - Insert - - - - insert selected region (from region list) - - - - - Metad - - - - duplicate region - - - - - Altr - - - - reverse region - - - - - Altn - - - - normalize region - - - - -
- -
diff --git a/manual/xml/editor_standard_editing_key_bindings.xml b/manual/xml/editor_standard_editing_key_bindings.xml index d2f35dd1b7..d8f23899ec 100644 --- a/manual/xml/editor_standard_editing_key_bindings.xml +++ b/manual/xml/editor_standard_editing_key_bindings.xml @@ -5,80 +5,86 @@ ]>
- Standard Editing - - Editor Standard Editing Key Bindings - - - - - - - Key Binding - - - Action - - - - - - - Ctrlz - - - - undo - - - - - Ctrlr - - - - redo - - - - - Ctrlx - - - - cut - - - - - Delete - - - - cut - - - - - Ctrlc - - - - copy - - - - - Ctrlv - - - - paste - - - - -
+ Standard Editing + + Editor Standard Editing Key Bindings + + + + + + + Key Binding + + + + Action + + + + + + + Ctrlz + + + + undo + + + + + + Ctrlr + + + + redo + + + + + + Ctrlx + + + + cut + + + + + + Delete + + + + cut + + + + + + Ctrlc + + + + copy + + + + + + Ctrlv + + + + paste + + + + +
-
diff --git a/manual/xml/editor_window_region_list.xml b/manual/xml/editor_window_region_list.xml index 551c9acee9..7c7990e1da 100644 --- a/manual/xml/editor_window_region_list.xml +++ b/manual/xml/editor_window_region_list.xml @@ -5,132 +5,146 @@ ]>
- Region List - - To the right of the track display is the region list, which uses a tree - display to show all regions in the session. There are sections in the region - list, “Captured” and “External”. - “Captured” contains all regions that were either recorded by - Ardour or imported as native audio files. “External”contains - regions created using audio files external to Ardour (from a sample library, - for example). - + Region List + + To the right of the track display is the region list, which uses a tree + display to show all regions in the session. There are sections in the + region list, “Captured” and “External”. + “Captured” contains all regions that were either recorded by + Ardour or imported as native audio files. “External”contains + regions created using audio files external to Ardour (from a sample + library, for example). + -
- Organization of the region list - - In both sections of the region list, any regions containing multiple - channels will have its name followed by “[N]” where N is a - number indicating the number of channels. Any region that ends in - “-N”, where N is a number, is a region that describes an entire - audio file. Any region that ends in “.N” is a region that - describes part of an audio file. Any subtree within the region list can be - hidden or displayed by clicking on the box left of its name. - +
+ Organization of the region list + + In both sections of the region list, any regions containing multiple + channels will have its name followed by “[N]” where N is a + number indicating the number of channels. Any region that ends in + “-N”, where N is a number, is a region that describes an + entire audio file. Any region that ends in “.N” is a + region that describes part of an audio file. Any subtree within the + region list can be hidden or displayed by clicking on the box left of + its name. + - - Within the Captured part of the tree, each track is represented by its own - subtree (strictly speaking, its not each track but each playlist that is - represented). Within that subtree is an entry for each take recorded for - that track. Remember that each take is stored as one and audio files - (strictly, one per channel). Within the take tree is an entry for each - region created from that take. - + + Within the Captured part of the tree, each track is represented by its + own subtree (strictly speaking, its not each track but each playlist + that is represented). Within that subtree is an entry for each take + recorded for that track. Remember that each take is stored as one and + audio files (strictly, one per channel). Within the take tree is an + entry for each region created from that take. + - - Within the External part of the tree, there is a subtree for each audio - file embedded into the session. Within that subtree are entries for each - region created from that audio file. - -
+ + Within the External part of the tree, there is a subtree for each + audio file embedded into the session. Within that subtree are entries + for each region created from that audio file. + +
-
- Region list operations - - Click on the box to the left of the name of part of the tree to hide/show - that part of the subtree. - +
+ Region list operations + + Click on the box to the left of the name of part of the tree to + hide/show that part of the subtree. + - - Click the name of a region and then drag it to the track display area to - insert a region into a track. - + + Click the name of a region and then drag it to the track display area + to insert a region into a track. + - - Click on the title bar of the region list to display a menu allowing you to - - Region List Context Menu - - - - - - - Menu Item - - - Description - - - - - - - Find - - - - - Show/Hide All - - - - fully expand or collapse the region list - - - - - - Sort - - - - - Display Automatic Regions normally, - - - Ardour does not display regions created as a result of a side effect of - user actions. If this option is selected, all regions will be included - in the region list. - - - - - Import audio files - - - - copy (and if necessary convert) audio files into the session. See - Importing for more details. - - - - - - Embed audio file - - - - embed external audio files into the session. No new files are created, - and no format conversion is done. See [[editing:Embedding]] for more - details. - - - - - -
-
+ + Click on the title bar of the region list to display a menu allowing + you to + + + + Region List Context Menu + + + + + + + Menu Item + + + + Description + + + + + + + Find + + + + + + Show/Hide All + + + + + fully expand or collapse the region list + + + + + + + Sort + + + + + + Display Automatic Regions normally, + + + + Ardour does not display regions created as a result of a side + effect of user actions. If this option is selected, all + regions will be included in the region list. + + + + + + Import audio files + + + + + copy (and if necessary convert) audio files into the + session. See Importing for more details. + + + + + + + Embed audio file + + + + + embed external audio files into the session. No new files + are created, and no format conversion is done. See + [[editing:Embedding]] for more details. + + + + + +
+
-
diff --git a/manual/xml/exporting.xml b/manual/xml/exporting.xml index 3e9d51b9cb..fb34fb30f5 100644 --- a/manual/xml/exporting.xml +++ b/manual/xml/exporting.xml @@ -4,11 +4,12 @@ ]> -Exporting - - This section covers ways to get your session converted into various formats - for use by other software or systems. - - + Exporting + + This section covers ways to get your session converted into various + formats for use by other software or systems. + + diff --git a/manual/xml/exporting_to_cd.xml b/manual/xml/exporting_to_cd.xml index adce9f55dd..2042e29c2e 100644 --- a/manual/xml/exporting_to_cd.xml +++ b/manual/xml/exporting_to_cd.xml @@ -5,182 +5,184 @@ ]>
- - - - - Nick - Mainsbridge - - - - + + + + + Nick + Mainsbridge + + + + + Exporting to CD +
+ Table of Contents + + A Table of Contents is a description of the data stored on a medium. + In the case of audio Cds, the TOC comes in the form of PQ data which + is intermingled with the audio data whaen the CD is burnt. Because PQ + data isn't part of 'normal' audio file formats such as wav or aiff, + this information must be stored in a separate file on your computer (a + CUE or TOC file) ready for use by your CD burning software which will + combine the two. + - Exporting to CD + + At the moment, Ardour can export TOC and CUE files containing the + red-book related fields Track, Index, ISRC, SCMS and Preemphasis. The + CD-TEXT fields TITLE, COMPOSER, PERFORMER and disc title are also + supported. + -
- Table of Contents - - A Table of Contents is a description of the data stored on a medium. In the - case of audio Cds, the TOC comes in the form of PQ data which is - intermingled with the audio data whaen the CD is burnt. Because PQ data - isn't part of 'normal' audio file formats such as wav or aiff, this - information must be stored in a separate file on your computer (a CUE or - TOC file) ready for use by your CD burning software which will combine the - two. - + + Range markers in Ardour can be 'promoted' to become CD tracks in the + locations window. Marks (point markers) can be promoted to be CD + Indexes in the same window. All TOC/CUE export operations hinge on + this. + - - At the moment, Ardour can export TOC and CUE files containing the red-book - related fields Track, Index, ISRC, SCMS and Preemphasis. The CD-TEXT fields - TITLE, COMPOSER, PERFORMER and disc title are also supported. - + + Assuming you have several songs on your timeline laid out so that + their spacing and level is 'correct' as you hear it, you should then + set ranges that represent the start and end points of each track, + These will become the start and end points on your CD. The start times + are all rounded down to the previous CD frame (Of which there are + 75/second) on export, so if you want to hear the exact point that your + CD player will start from, select 'CD frames' as your snap setting + while you do this. If you want track indexes (nobody does, but they're + there), set a location marker for each desired index. + - - Range markers in Ardour can be 'promoted' to become CD tracks in the - locations window. Marks (point markers) can be promoted to be CD Indexes in - the same window. All TOC/CUE export operations hinge on this. - + + The locations dialog is useful here, as you can just 'go' to a point + to audition the exact position of a marker/range. + +
- - Assuming you have several songs on your timeline laid out so that their - spacing and level is 'correct' as you hear it, you should then set ranges - that represent the start and end points of each track, These will become - the start and end points on your CD. The start times are all rounded down - to the previous CD frame (Of which there are 75/second) on export, so if - you want to hear the exact point that your CD player will start from, - select 'CD frames' as your snap setting while you do this. If you want - track indexes (nobody does, but they're there), set a location marker for - each desired index. - +
+ Pregap + + A word about pregap: + - - The locations dialog is useful here, as you can just 'go' to a point to - audition the exact position of a marker/range. - -
+ + A 'normal' redbook CD should have a blank (digital black) space of 2 + seconds before the first modulation called the pregap. Ideally, your + first song will have been placed at 2 seconds when you began, but you + can always drag the whole collection of songs to the right position + fairly easily at this point. + -
- Pregap - - A word about pregap: - + + Also, note that this 2 second rule can be fun to break. You can make + the pregap as long as you like.. even hide whole songs in there. The + player will still play track one when the disc is inserted. Only those + listeners with the urge to rewind beyond the beginning will find your + hidden song/dog bark. Also keep in mind that there is a pregap for + each song. It starts where the previous song ends. In other words, if + you leave a gap in the ranges between songs 2 & 3, that gap will + only play for those listening through the entire CD. Anyone skipping + directly to 3 will miss your secret 'long' intro. + - - A 'normal' redbook CD should have a blank (digital black) space of 2 - seconds before the first modulation called the pregap. Ideally, your first - song will have been placed at 2 seconds when you began, but you can always - drag the whole collection of songs to the right position fairly easily at - this point. - + + After setting a non-overlapping range for each track (overlapping CD + tracks are removed on export, from left to right, as are indexes that + aren't inside a track), open the locations window and make your ranges + into track markers by clicking the CD button. Fill in whatever + information you feel is necessary in the boxes below. Unused fields + will be ignored as far as the exported TOC/CUE file is concerned. + - - Also, note that this 2 second rule can be fun to break. You can make the - pregap as long as you like.. even hide whole songs in there. The player - will still play track one when the disc is inserted. Only those listeners - with the urge to rewind beyond the beginning will find your hidden song/dog - bark. Also keep in mind that there is a pregap for each song. It starts - where the previous song ends. In other words, if you leave a gap in the - ranges between songs 2 & 3, that gap will only play for those listening - through the entire CD. Anyone skipping directly to 3 will miss your secret - 'long' intro. - + + CD-TEXT track titles are taken from the range's name. The CD-TEXT + title of the CD is taken from the session name (i should have told you + that first, right?). + - - After setting a non-overlapping range for each track (overlapping CD tracks - are removed on export, from left to right, as are indexes that aren't - inside a track), open the locations window and make your ranges into track - markers by clicking the CD button. Fill in whatever information you feel is - necessary in the boxes below. Unused fields will be ignored as far as the - exported TOC/CUE file is concerned. - + + + Pre-emphasis is there for those strange types that use it (they also + use track indexes). You almost certainly don't want pre-emphasis. A + valid ISRC is all capitals, 12 characters. + + +
- - CD-TEXT track titles are taken from the range's name. The CD-TEXT title of - the CD is taken from the session name (i should have told you that first, - right?). - +
+ Cue Files + + Cue files have no notion of 'the end'. Its a drag. They think the end + of the file is the end of the last track. If you want to use CUE + files, you have to make sure that the session end marker is snapped to + CD frames (before you export, of course), or else use the -pad option + when you burn. + +
- - - Pre-emphasis is there for those strange types that use it (they also - use track indexes). You almost certainly don't want pre-emphasis. A valid - ISRC is all capitals, 12 characters. - - -
+
+ Export The Session + + Now export the session to a file (16bit 44.1kHz for CD), selecting + your preferred cuefile type (TOC or CUE). The TOC/CUE file is written + to the same directory as your audio file, and has the same name, only + with '.toc' or '.cue' appended. Usually you will only be selecting the + two master outputs to export, with output 1 always being 'left'. The + export is post fader and panner. Don't assume that the sound will be + identical after you have truncated/dithered to 16 bits. It can be + worthwhile to experiment with different dither settings when making + your export. + -
- Cue Files - - Cue files have no notion of 'the end'. Its a drag. They think the end of - the file is the end of the last track. If you want to use CUE files, you - have to make sure that the session end marker is snapped to CD frames - (before you export, of course), or else use the -pad option when you burn. - -
- -
- Export The Session - - Now export the session to a file (16bit 44.1kHz for CD), selecting your - preferred cuefile type (TOC or CUE). The TOC/CUE file is written to the - same directory as your audio file, and has the same name, only with '.toc' - or '.cue' appended. Usually you will only be selecting the two master - outputs to export, with output 1 always being 'left'. The export is post - fader and panner. Don't assume that the sound will be identical after you - have truncated/dithered to 16 bits. It can be worthwhile to experiment with - different dither settings when making your export. - - - - To check out the details without burning - + + To check out the details without burning + cdrdao show-toc blah.wav.toc - - to correct a problem, make your changes, then use the 'export toc file - only' option. If you have to change the session end marker, you'll have to - re-export your audio file. - + + to correct a problem, make your changes, then use the 'export toc file + only' option. If you have to change the session end marker, you'll + have to re-export your audio file. + - - To burn - + + To burn + cdrdao write /home/britney/globalsmash.wav.toc - - One last thing: - + + One last thing: + - - If you don't make any CD Track ranges and export a TOC/CUE file, the entire - session is treated as one track with no pregap. Indexes, if present, will - be honoured. - -
+ + If you don't make any CD Track ranges and export a TOC/CUE file, the + entire session is treated as one track with no pregap. Indexes, if + present, will be honoured. + +
-
- FAQ - - Why no DDP? ( http://www.dcainc.com/products/ddp/ ) - +
+ FAQ + + Why no DDP? ( http://www.dcainc.com/products/ddp/ ) + - - A: DCA have been kind enough to get in touch. Hopefully they will allow a - GPL implementaton soon. - -
+ + A: DCA have been kind enough to get in touch. Hopefully they will + allow a GPL implementaton soon. + +
-
- What about catalog numbers for the CD? - - A: coming eventually.. we need a tab for session-wide variables like these. - where to put it? in the export dialog or the options menu? - -
+
+ What about catalog numbers for the CD? + + A: coming eventually.. we need a tab for session-wide variables like + these. where to put it? in the export dialog or the options menu? + +
-
diff --git a/manual/xml/generic_midi_control_surface.xml b/manual/xml/generic_midi_control_surface.xml index f8e6fd152b..675d8948a9 100644 --- a/manual/xml/generic_midi_control_surface.xml +++ b/manual/xml/generic_midi_control_surface.xml @@ -5,10 +5,10 @@ ]>
- Using a Generic MIDI control surface - - To be completed. Applies only to Ardour 2. - + Using a Generic MIDI control surface + + To be completed. Applies only to Ardour 2. + - diff --git a/manual/xml/jack.xml b/manual/xml/jack.xml index 1e0a0bfd5e..8798a45686 100644 --- a/manual/xml/jack.xml +++ b/manual/xml/jack.xml @@ -5,275 +5,286 @@ ]>
- Getting Audio In, Out and Around Your Computer - - Before you can begin to use Ardour, you will need to get the audio - input/output capabilities of your system working and properly configured. - There are two aspects to this process: getting your audio interface - (soundcard) working, and configuring it to work with the Jack Audio - Connection Kit (JACK). - + Getting Audio In, Out and Around Your Computer + + Before you can begin to use Ardour, you will need to get the audio + input/output capabilities of your system working and properly + configured. There are two aspects to this process: getting your audio + interface (soundcard) working, and configuring it to work with the Jack + Audio Connection Kit (JACK). + -
- JACK - - It is extremely important to understand that Ardour does not interact - directly with your audio interface when it is running. Instead, all of the - audio data signals that Ardour receives and generates are sent to and from - JACK, a piece of software that routes audio data between an audio interface - and audio applications, in real time. - +
+ JACK + + It is extremely important to understand that Ardour does not interact + directly with your audio interface when it is running. Instead, all of + the audio data signals that Ardour receives and generates are sent to + and from JACK, a piece of software that routes audio data between an + audio interface and audio applications, in real time. + - - Traditionally, most of the audio sources that you would want to record, as - well as a lot of the more significant effects processing, existed outside - the computer. Consequently one of the biggest issues in integrating a - computer into the operation of the studio is how to move audio data in and - out of the computer. - + + Traditionally, most of the audio sources that you would want to + record, as well as a lot of the more significant effects processing, + existed outside the computer. Consequently one of the biggest issues + in integrating a computer into the operation of the studio is how to + move audio data in and out of the computer. + - - However, it is becoming increasingly common for studios to use audio - sources and effects processing that are comprised completely of software, - quite often running on the same machine as an audio sequencer or digital - audio workstation (DAW). A new problem arises in such situations, because - moving audio in and out of the DAW no longer involves your hardware audio - interface. Instead, data has to be moved from one piece of software to - another, preferably with the same kind of sample synchronisation you’d - have in a properly configured digital hardware system. This is a problem - that has been solved at least a couple of times (ReWire from PropellerHeads - and DirectConnect from Digidesign are the two most common examples), but - JACK is a new design developed as an open source software project, and is - thusly available for anyone to use, learn from, extend, *fix or modify. - + + However, it is becoming increasingly common for studios to use audio + sources and effects processing that are comprised completely of + software, quite often running on the same machine as an audio + sequencer or digital audio workstation (DAW). A new problem arises in + such situations, because moving audio in and out of the DAW no longer + involves your hardware audio interface. Instead, data has to be moved + from one piece of software to another, preferably with the same kind + of sample synchronisation you’d have in a properly configured + digital hardware system. This is a problem that has been solved at + least a couple of times (ReWire from PropellerHeads and DirectConnect + from Digidesign are the two most common examples), but JACK is a new + design developed as an open source software project, and is thusly + available for anyone to use, learn from, extend, *fix or modify. + - - New users may not initially realize that by using Jack, their computer - becomes an extremely flexible and powerful audio tool - especially with - Ardour acting as the ’heart’ of the system. - -
+ + New users may not initially realize that by using Jack, their computer + becomes an extremely flexible and powerful audio tool - especially + with Ardour acting as the ’heart’ of the system. + +
-
- Getting Your Audio Interface Working - - - Although Ardour runs on OS X as well as Linux, this documentation - describes only a Linux (ALSA) system. The issues faced on OS X tend to be - entirely different, and are centered mostly on JACK. There are also - alternative audio device driver families for Linux but they are also not - discussed here. - - +
+ Getting Your Audio Interface Working + + + Although Ardour runs on OS X as well as Linux, this documentation + describes only a Linux (ALSA) system. The issues faced on OS X tend + to be entirely different, and are centered mostly on JACK. There are + also alternative audio device driver families for Linux but they are + also not discussed here. + + - - Getting your audio interface working can be the hardest part of setting - your computer up to run Ardour, or it could be one of the easiest. The - level of difficulty you will face depends on the type of audio interface - ("soundcard") you are using, the operating system version you are using, - and your own understanding of how it all works. - + + Getting your audio interface working can be the hardest part of + setting your computer up to run Ardour, or it could be one of the + easiest. The level of difficulty you will face depends on the type of + audio interface ("soundcard") you are using, the operating system + version you are using, and your own understanding of how it all works. + - - In an ideal world, your computer already has a working audio interface, and - all you need do is to start up qjackctl and run JACK. You can determine if - you face this ideal situation by doing a few simple tests on your machine. - The most obvious test is whether you’ve already heard audio coming out of - your computer. If you are in this situation, you can skip ahead to - . - -
+ + In an ideal world, your computer already has a working audio + interface, and all you need do is to start up qjackctl and run JACK. + You can determine if you face this ideal situation by doing a few + simple tests on your machine. The most obvious test is whether + you’ve already heard audio coming out of your computer. If you are + in this situation, you can skip ahead to + . + +
-
- Checking For an Audio Interface - - If you’ve never tried to play audio on your computer before, you should - use a basic playback program such as play, aplay or possibly xmms. Find an - audio file on your machine (locate .wav may help here), - and try to play it. There are several possibilities: - +
+ Checking For an Audio Interface + + If you’ve never tried to play audio on your computer before, you + should use a basic playback program such as play, aplay or possibly + xmms. Find an audio file on your machine (locate + .wav may help here), and try to play it. There are several + possibilities: + - - - - You may get an error from the program - - - - - You may hear nothing - - - - - You may hear something, but its too quiet - - - - - you may hear something from the wrong loudspeakers. - - - -
+ + + + You may get an error from the program + + -
- Selecting Capture Source - - Many audio interfaces, particularly the cheaper varieties that are often - found built into computers, have ways to plug in both microphones and - instruments or other audio equipment to be recorded. This immediately poses - a question: how does Ardour (or any software) know which signal to record, - the one coming into the microphone input, or the one arriving at the "line - in" socket? The same question arises also for "high-end" audio interfaces, - though in different ways. - + + + You may hear nothing + + - - The short answer is: Ardour doesn’t. Instead, this is a choice you have - to make using a program a program that understands how to control the - mixing hardware on the audio interface. Linux/ALSA has a number of such - programs: alsamixer, gamix, aumix, kmix are just a few of them. Each of - them offers you a way to select which of the possible recordable signals - will be used for as the "capture source". How you select the preferred - signal varies from program to program, so you will have to consult the help - documentation for whichever program you choose to use. - + + + You may hear something, but its too quiet + + - - There are also a few programs that offer ways to control just one - particular kind of audio interface. For example, the - hdspmixer program offers control over the very - powerful matrix mixer present on several RME audio interface. - envy24ctrl does the same for a number of - interfaces built around the common ice1712/envy24 chipset, found in devices - from M-Audio, Terratec and others. Please note that this quite similar to - the situation for Windows and MacOS users, where each audio interface often - comes with its own control program that allows certain critical - configuration choices to be made. - + + + you may hear something from the wrong loudspeakers. + + + +
-
- "I don’t get any signal when I record …" - - The most common problem for first-time audio users on Linux is to try to - record something and get no signal at all, or alternatively, a very low - signal. The low signal problem typically arises from one or more of the - following issues: - +
+ Selecting Capture Source + + Many audio interfaces, particularly the cheaper varieties that are + often found built into computers, have ways to plug in both + microphones and instruments or other audio equipment to be recorded. + This immediately poses a question: how does Ardour (or any software) + know which signal to record, the one coming into the microphone input, + or the one arriving at the "line in" socket? The same question arises + also for "high-end" audio interfaces, though in different ways. + - - - - a microphone input plugged into the "line in" socket of the interface. - The signal levels delivered by microphones are very small, and require - amplification before they can be used by most audio circuitry. In - professional recording studios, this is done using a dedicated box - called a "pre-amplifier". If your audio interface has a "mic input" - socket, then it has its own pre-amplifier built in, although its - probably not a very good one. If you make the mistake of plugging a - microphone into the "line in" socket, you will get either an inaudible - or very quiet signal. - - - - - the wrong capture source selected in the audio interface’s hardware - mixer (see above) - - - - - the "capture" gain level in the audio interface’s hardware mixer is - turned down too low. You will need to use a hardware mixer application - (as described above) to increase this. - - - + + The short answer is: Ardour doesn’t. Instead, this is a choice you + have to make using a program a program that understands how to control + the mixing hardware on the audio interface. Linux/ALSA has a number of + such programs: alsamixer, gamix, aumix, kmix are just a few of them. + Each of them offers you a way to select which of the possible + recordable signals will be used for as the "capture source". How you + select the preferred signal varies from program to program, so you + will have to consult the help documentation for whichever program you + choose to use. + - - - You will notice in the mixer strip for each track in ardour that you can - change the selection of the monitoring source between input/pre/post. - Adjusting the fader while watching the ’input’ levels will NOT have - any affect on the levels. As mentioned above, ardour is dependent on - external mixer settings for a source level. - - -
-
+ + There are also a few programs that offer ways to control just one + particular kind of audio interface. For example, the + hdspmixer program offers control over the + very powerful matrix mixer present on several RME audio interface. + envy24ctrl does the same for a number of + interfaces built around the common ice1712/envy24 chipset, found in + devices from M-Audio, Terratec and others. Please note that this quite + similar to the situation for Windows and MacOS users, where each audio + interface often comes with its own control program that allows certain + critical configuration choices to be made. + -
- Monitoring Choices - - Its unfortunate that we have to raise this issue at a point in the manual - where you, the reader, may not even knoiw what "monitoring" means. However, - it is such an absolutely critical aspect of using any digital audio - workstation that we need to at least cover the basics here. The only people - who don’t need to care about monitoring are those who will never use - ardour to record a live performance (even on performed using a software - synthesizer). - +
+ "I don’t get any signal when I record …" + + The most common problem for first-time audio users on Linux is to + try to record something and get no signal at all, or alternatively, + a very low signal. The low signal problem typically arises from one + or more of the following issues: + - - Monitoring is the term we use to describe listening to what ardour is - recording. If you are playing a guitar and recording it with ardour, you - can probably hear the guitar’s own sound, but there are many situations - where relying on the sound of the instrument is completely inadequate. For - example, with an electronic instrument, there is no sound until the - electrical signal that it generates has been processed by an amplifier and - fed to a loudspeaker. But if Ardour is recording the instrument’s signal, - what is responsible for sending it to the amp+loudspeakers? It can get a - lot more complex than that: if you are recording multiple performers at the - same time, each performer needs to hear their own playing/singing, but they - also probably need to hear some of their colleagues’ sound as well. You - might be overdubbing yourself - playing a new line on an instrument while - listening to tracks you’ve already recorded - how do you hear the new - material as well as the existing stuff? - + + + + a microphone input plugged into the "line in" socket of the + interface. The signal levels delivered by microphones are very + small, and require amplification before they can be used by most + audio circuitry. In professional recording studios, this is done + using a dedicated box called a "pre-amplifier". If your audio + interface has a "mic input" socket, then it has its own + pre-amplifier built in, although its probably not a very good + one. If you make the mistake of plugging a microphone into the + "line in" socket, you will get either an inaudible or very quiet + signal. + + - - Well, hopefully, you’re convinced that there are some questions to be - dealt with surrounding monitoring, see for - more in depth information. - -
+ + + the wrong capture source selected in the audio interface’s + hardware mixer (see above) + + -
- Can I use multiple soundcards - - There are really lots of great reasons why you should not even attempt to - do this. But seriously, save your money for a while and buy yourself a - properly designed multichannel soundcard. - -
+ + + the "capture" gain level in the audio interface’s hardware + mixer is turned down too low. You will need to use a hardware + mixer application (as described above) to increase this. + + + -
- Qjackctl - - JACK itself does not come with graphical user interface - to start JACK and - control it you need to have access to a command line and a basic knowledge - of Unix-like operating systems. However, - qjackctl is a - wonderful application that wraps JACK up with a graphical interface that is - both nice to look at and useful at same time. qjackctl is the recommended - way of using JACK. - - - - - - - - You should be able to start qjackctl from the “application menu” of - your system, typically found on the panel/appbar/dock or whatever its - called that lives at the top/bottom/left/right of your screen. - + + + You will notice in the mixer strip for each track in ardour that + you can change the selection of the monitoring source between + input/pre/post. Adjusting the fader while watching the ’input’ + levels will NOT have any affect on the levels. As mentioned above, + ardour is dependent on external mixer settings for a source level. + + +
+
- - [ need screenshot of GNOME/KDE/OSX menus here ] - -
+
+ Monitoring Choices + + Its unfortunate that we have to raise this issue at a point in the + manual where you, the reader, may not even knoiw what "monitoring" + means. However, it is such an absolutely critical aspect of using any + digital audio workstation that we need to at least cover the basics + here. The only people who don’t need to care about monitoring are + those who will never use ardour to record a live performance (even on + performed using a software synthesizer). + + + + Monitoring is the term we use to describe listening to what ardour is + recording. If you are playing a guitar and recording it with ardour, + you can probably hear the guitar’s own sound, but there are many + situations where relying on the sound of the instrument is completely + inadequate. For example, with an electronic instrument, there is no + sound until the electrical signal that it generates has been processed + by an amplifier and fed to a loudspeaker. But if Ardour is recording + the instrument’s signal, what is responsible for sending it to the + amp+loudspeakers? It can get a lot more complex than that: if you are + recording multiple performers at the same time, each performer needs + to hear their own playing/singing, but they also probably need to hear + some of their colleagues’ sound as well. You might be overdubbing + yourself - playing a new line on an instrument while listening to + tracks you’ve already recorded - how do you hear the new material as + well as the existing stuff? + + + + Well, hopefully, you’re convinced that there are some questions to + be dealt with surrounding monitoring, see + for more in depth information. + +
+ +
+ Can I use multiple soundcards + + There are really lots of great reasons why you should not even attempt + to do this. But seriously, save your money for a while and buy + yourself a properly designed multichannel soundcard. + +
+ +
+ Qjackctl + + JACK itself does not come with graphical user interface - to start + JACK and control it you need to have access to a command line and a + basic knowledge of Unix-like operating systems. However, + qjackctl is a + wonderful application that wraps JACK up with a graphical interface + that is both nice to look at and useful at same time. qjackctl is the + recommended way of using JACK. + + + + + + + + You should be able to start qjackctl from the “application menu” + of your system, typically found on the panel/appbar/dock or whatever + its called that lives at the top/bottom/left/right of your screen. + + + + [ need screenshot of GNOME/KDE/OSX menus here ] + +
- - + - - - - - - - -
- +
- ardour.rc file that you will have contains a single - port definition. It defines a port that is almost guaranteed to be usable - on your system ((Linux/ALSA users may need to ensure that the - snd-seq kernel module gets loaded - many distributions - do not do this by default)). This port is a "virtual port" it isn't - actually a hardware MIDI port, but instead is a software port that can be - connected to other software ports or to whatever hardware MIDI ports you - have (see ). - -
+ ardour.rc file that you will have contains a + single port definition. It defines a port that is almost guaranteed to + be usable on your system ((Linux/ALSA users may need to ensure that + the snd-seq kernel module gets loaded - many + distributions do not do this by default)). This port is a "virtual + port" it isn't actually a hardware MIDI port, but instead is a + software port that can be connected to other software ports or to + whatever hardware MIDI ports you have (see + ). + +
-
- Defining additional MIDI ports - - To define additional ports, find the line in ardour.rc - that looks roughly like this: - +
+ Defining additional MIDI ports + + To define additional ports, find the line in + ardour.rc that looks roughly like this: + <MIDI-port tag="hw:0" device="/dev/snd/midiC1D0" type="alsa/raw" mode="duplex"/> - - On OSX/CoreMIDI it would look more like: - + + On OSX/CoreMIDI it would look more like: + <MIDI-port tag="coremidi" device="ardour" type="coremidi" mode="duplex"/> - - You can then add another line right after it that looks similar but - contains a different port definition. - + + You can then add another line right after it that looks similar but + contains a different port definition. + - - You will see there are 4 pieces of information required to define a MIDI - port for use within Ardour. Your port definition - + + You will see there are 4 pieces of information required to define a + MIDI port for use within Ardour. Your port definition + -
- Tag - - This is just a name of your own choosing. It is how the port will be - referred to within Ardour. You could use a name that describes what is - plugged into the port (e.g. "1600x", "Novation"), or a name that describes - the computer device/system that provides the port (e.g. "HDSP", - "Sequencer"), or a whimsical name of your own choice (e.g. "bowtie", - "merlin"). - -
+
+ Tag + + This is just a name of your own choosing. It is how the port will be + referred to within Ardour. You could use a name that describes what + is plugged into the port (e.g. "1600x", "Novation"), or a name that + describes the computer device/system that provides the port (e.g. + "HDSP", "Sequencer"), or a whimsical name of your own choice (e.g. + "bowtie", "merlin"). + +
-
- Type - - This is an operating system specific identifier that defines what kind of - port this is. It can be set to one of three values: - +
+ Type + + This is an operating system specific identifier that defines what + kind of port this is. It can be set to one of three values: + - - - - alsa/raw - the port corresponds to a physical MIDI - port that is accessed directly without involving the ALSA MIDI routing - subsystem. - - - - - alsa/sequencer - the port is a virtual port that can - send and receive MIDI data via the ALSA MIDI routing subsystem. - - - - - coremidi - the port is a virtual port that can send - and receive MIDI data via the CoreMidi inter-application MIDI routing - subsystem. - - - -
+ + + + alsa/raw - the port corresponds to a physical + MIDI port that is accessed directly without involving the ALSA + MIDI routing subsystem. + + -
- Device - - This is an operating specific and MIDI subsystem-specific name that - actually identifies the device to be used for MIDI I/O. - + + + alsa/sequencer - the port is a virtual port + that can send and receive MIDI data via the ALSA MIDI routing + subsystem. + + - - - - for a raw ALSA hardware port, it is the name of the device file - corresponding to the hardware MIDI port. A typical value might be - /dev/snd/midiC0D0/. - - - - - for an ALSA sequencer port, it is an arbitrary name for the port that - will appear as part of the ALSA MIDI routing system - - - - - for a CoreMIDI port, it is an arbitrary name for the port that will - appear as in any CoreMIDI port selection dialogs. - - - -
+ + + coremidi - the port is a virtual port that + can send and receive MIDI data via the CoreMidi + inter-application MIDI routing subsystem. + + + +
-
- Mode - - This specifies whether the port is available for input, output or both: - +
+ Device + + This is an operating specific and MIDI subsystem-specific name that + actually identifies the device to be used for MIDI I/O. + - - - - read - the port is available for input only - - - - - write - the port is available for output only - - - - - duplex - the port is available for input and output - - - + + + + for a raw ALSA hardware port, it is the name of the device file + corresponding to the hardware MIDI port. A typical value might + be /dev/snd/midiC0D0/. + + - - You should probably always use duplex here. It is rare to need to open a - port for unidirectional communication only. - -
-
+ + + for an ALSA sequencer port, it is an arbitrary name for the port + that will appear as part of the ALSA MIDI routing system + + -
- Removing Midi Ports - - To remove a MIDI port, simply delete the line in your - ardour.rc file that defines it. - -
+ + + for a CoreMIDI port, it is an arbitrary name for the port that + will appear as in any CoreMIDI port selection dialogs. + + + +
-
- Making Connections - - If you use actual physical hardware MIDI ports, then establishing - connections to other MIDI equipment is simply a matter of connecting cables - correctly. However, if you use "virtual ports" such as those offered by the - ALSA router/sequencer or CoreMIDI, making connections is slightly more - involved. - +
+ Mode + + This specifies whether the port is available for input, output or + both: + - - Ardour does not come with any way of establishing MIDI connections from/to - other software MIDI ports. This is a difficult task to get right, and - Ardour may offer something in the future. For now, you need to use an - external tool that is dedicated to this purpose, much the same way you - would use a patchbay (audio/MIDI) with physical equipment. - + + + + read - the port is available for input only + + -
- Linux/ALSA - - qjackctl (the same program that is recommended - for controlling JACK) also includes an excellent MIDI connection manager. - You could also use command line tools such as - aconnect. - -
+ + + write - the port is available for output only + + -
- OSX/CoreMIDI - - On OSX/CoreMIDI you need to connect the MIDI ports with a patchbay tool - such as the excellent MIDI Patchbay from - Pete Yandell - -
-
+ + + duplex - the port is available for input and + output + + + -
- Using MIDI ports - - Each port that is defined in ardour.rc can be used for - any of the following functions: - + + You should probably always use duplex here. It is + rare to need to open a port for unidirectional communication only. + +
+
- - - - MTC input and output - - - - - MMC input and output - - - - - MIDI CC/Note input and output - - - -
+
+ Removing Midi Ports + + To remove a MIDI port, simply delete the line in your + ardour.rc file that defines it. + +
+ +
+ Making Connections + + If you use actual physical hardware MIDI ports, then establishing + connections to other MIDI equipment is simply a matter of connecting + cables correctly. However, if you use "virtual ports" such as those + offered by the ALSA router/sequencer or CoreMIDI, making connections + is slightly more involved. + + + + Ardour does not come with any way of establishing MIDI connections + from/to other software MIDI ports. This is a difficult task to get + right, and Ardour may offer something in the future. For now, you need + to use an external tool that is dedicated to this purpose, much the + same way you would use a patchbay (audio/MIDI) with physical + equipment. + + +
+ Linux/ALSA + + qjackctl (the same program that is + recommended for controlling JACK) also includes an excellent MIDI + connection manager. You could also use command line tools such as + aconnect. + +
+ +
+ OSX/CoreMIDI + + On OSX/CoreMIDI you need to connect the MIDI ports with a patchbay + tool such as the excellent MIDI Patchbay from + Pete Yandell + +
+
+ +
+ Using MIDI ports + + Each port that is defined in ardour.rc can be + used for any of the following functions: + + + + + + MTC input and output + + + + + + MMC input and output + + + + + + MIDI CC/Note input and output + + + +
diff --git a/manual/xml/mixer_strip_list.xml b/manual/xml/mixer_strip_list.xml index 99afa3b21d..ca72916e85 100644 --- a/manual/xml/mixer_strip_list.xml +++ b/manual/xml/mixer_strip_list.xml @@ -5,86 +5,91 @@ ]>
- Strip List - - The Strip List provides a simple interface to the layout of the mixer strips - on the mixer. Mixer strips on the mixer have two possible states - visible - and hidden. Mixer strips can also be placed in any order on the mixer. - Rearranging the order of the mixer strips has no effect on the signal flow - of the session. The names of all tracks in your session are listed in their - current order. Hidden mixer strips are darker in colour than visible ones. A - single left click on a track name will remove the track's mixer strip from - the mixer, and changing the colour of the item on the strip list. This - action has no effect on signal flow. Dragging a track name vertically with - the left mouse button will rearrange the mixer to reflect the order selected - when the mouse button is released. Clicking the word "Strip" at - the top of the strip list will open a drop-down list of shortcuts to actions - that change the strip list (and consequently the state of the mixer). - + Strip List + + The Strip List provides a simple interface to the layout of the mixer + strips on the mixer. Mixer strips on the mixer have two possible states + - visible and hidden. Mixer strips can also be placed in any order on + the mixer. Rearranging the order of the mixer strips has no effect on + the signal flow of the session. The names of all tracks in your session + are listed in their current order. Hidden mixer strips are darker in + colour than visible ones. A single left click on a track name will + remove the track's mixer strip from the mixer, and changing the colour + of the item on the strip list. This action has no effect on signal flow. + Dragging a track name vertically with the left mouse button will + rearrange the mixer to reflect the order selected when the mouse button + is released. Clicking the word "Strip" at the top of the strip list will + open a drop-down list of shortcuts to actions that change the strip list + (and consequently the state of the mixer). + - - Strip List Context Menu - - show all - - - sets all hidden mixer strips to the visible state - - - + + Strip List Context Menu + + show all + + + sets all hidden mixer strips to the visible state + + + - - hide all - - - sets all visible mixer strips to the hidden state. - - - + + hide all + + + sets all visible mixer strips to the hidden state. + + + - - show all AudioTrack Mixer Strips - - - sets all hidden mixer strips that are audio tracks to the visible state - - - + + show all AudioTrack Mixer Strips + + + sets all hidden mixer strips that are audio tracks to the visible + state + + + - - hide all AudioTrack Mixer Strips - - - sets all visible mixer strips that are audio tracks to the hidden state. - - - + + hide all AudioTrack Mixer Strips + + + sets all visible mixer strips that are audio tracks to the hidden + state. + + + - - show all AudioBus Mixer Strips - - - sets all hidden mixer strips that are audio buses to the visible state - - - + + show all AudioBus Mixer Strips + + + sets all hidden mixer strips that are audio buses to the visible + state + + + - - hide all AudioBus Mixer Strips - - - sets all visible mixer strips that are audio buses to the hidden state. - - - - + + hide all AudioBus Mixer Strips + + + sets all visible mixer strips that are audio buses to the hidden + state. + + + + - - At the bottom right of the strip list, a square box provides a method for - resizing the pane. Holding down the left mouse button while dragging the - square vertically will move the lower border of the strip list. - - diff --git a/manual/xml/mixer_strips.xml b/manual/xml/mixer_strips.xml index 3c52aa13b4..b381ced49a 100644 --- a/manual/xml/mixer_strips.xml +++ b/manual/xml/mixer_strips.xml @@ -7,493 +7,513 @@
- Mixer Strips - - Each track and bus is represented in the mixer window by a mixer - strip that contains various controls related to signal flow. - There are two places in Ardour in which you can see mixer strips. The mixer - window is the obvious one (and the one we deal with here), but you can also - view a single mixer strip in the editor window by clicking the - editor mixer button. - - - - - - - - this image needs replacing with labels and better resolution The mixer strip - for a bus is essentially identical to the one for an audio track, but it is - missing certain controls that make no sense - you cannot record into a bus, - so there is no record enable button, for example. - + Mixer Strips + + Each track and bus is represented in the mixer window by a + mixer strip that contains various controls related + to signal flow. There are two places in Ardour in which you can see + mixer strips. The mixer window is the obvious one (and the one we deal + with here), but you can also view a single mixer strip in the editor + window by clicking the editor mixer button. + + + + + + + + this image needs replacing with labels and better resolution The mixer + strip for a bus is essentially identical to the one for an audio track, + but it is missing certain controls that make no sense - you cannot + record into a bus, so there is no record enable button, for example. + - - The mixer strips are designed to visually model signal flow. The input - button selects the input of the track that this mixer strip monitors. The - outputs of the track (the 'tape recorder') are 'hard-wired' to the inputs of - the mixer strip. Think of the input to the strip starting at the polarity - switch, flowing down through the prefader inserts/plugins/sends section, - through the gain fader, past the postfader inserts/plugins/sends section, - the panner, and out through the output selector. In the case of a bus, there - is no 'tape machine' inserted between the input selector and the actual - input of the strip, but the signal flow is identical otherwise. - + + The mixer strips are designed to visually model signal flow. The input + button selects the input of the track that this mixer strip monitors. + The outputs of the track (the 'tape recorder') are 'hard-wired' to the + inputs of the mixer strip. Think of the input to the strip starting at + the polarity switch, flowing down through the prefader + inserts/plugins/sends section, through the gain fader, past the + postfader inserts/plugins/sends section, the panner, and out through the + output selector. In the case of a bus, there is no 'tape machine' + inserted between the input selector and the actual input of the strip, + but the signal flow is identical otherwise. + -
- Narrow Mixer Strip Button - - the button on the top left of the mixer strip is labelled with two arrows - separated by a line. Left clicking this button will reduce the horizontal - size of the mixer strip. Clicking it again will restore the previous size. - The first click also has the effect of shortening the names of controls. - Plugin lists become very small in this mode, however more faders are - accessible without scrolling. Your needs may vary, hence the existence of - this button. - -
+
+ Narrow Mixer Strip Button + + the button on the top left of the mixer strip is labelled with two + arrows separated by a line. Left clicking this button will reduce the + horizontal size of the mixer strip. Clicking it again will restore the + previous size. The first click also has the effect of shortening the + names of controls. Plugin lists become very small in this mode, + however more faders are accessible without scrolling. Your needs may + vary, hence the existence of this button. + +
-
- Hide Button - - The button opposite the Narrow Mixer Strip Button - hides the mixer strip from view. this button has no effect on signal flow - or muting. When a mixer strip is hidden, it's entry in the strips list is - darkened. To restore the mixer strip to the visible state, click it's entry - in the strip list with the left mouse button. - -
+
+ Hide Button + + The button opposite the Narrow Mixer Strip Button + hides the mixer strip from view. this button has no effect on signal + flow or muting. When a mixer strip is hidden, it's entry in the strips + list is darkened. To restore the mixer strip to the visible state, + click it's entry in the strip list with the left mouse button. + +
-
- Track Name - - The track name displays the current name of the track as displayed in the - editor window. right-clicking on the name brings up a drop-down menu that - allows you to rename, activate, deactivate and remove the track. Selecting - Rename opens a new window displaying the name of - the track. to change it, type your change and press ok. to leave it - unaltered, press cancel. Selecting remove opens - a new window asking for confirmation of your track removal request. - removing a track removes that track from the project. If the playlist used - by the removed track is not used by any other track, it will also be - removed. - -
+
+ Track Name + + The track name displays the current name of the track as displayed in + the editor window. right-clicking on the name brings up a drop-down + menu that allows you to rename, activate, deactivate and remove the + track. Selecting Rename opens a new window + displaying the name of the track. to change it, type your change and + press ok. to leave it unaltered, press cancel. Selecting + remove opens a new window asking for + confirmation of your track removal request. removing a track removes + that track from the project. If the playlist used by the removed track + is not used by any other track, it will also be removed. + +
-
- Group Button - - The group button displays the name of the currently selected mix group. if - no group is selected, it will read no group. when clicked, a drop-down menu - appears which lists the current mixer groups, along with the option no - group. if a group is selected, any fader movement on one of the group - member faders will be translated to the other members of the group. - -
+
+ Group Button + + The group button displays the name of the currently selected mix + group. if no group is selected, it will read no group. when clicked, a + drop-down menu appears which lists the current mixer groups, along + with the option no group. if a group is selected, any fader movement + on one of the group member faders will be translated to the other + members of the group. + +
-
- Input Selector - - The input selector allows you to assign hardware or software inputs to the - track that this mixer strip monitors. clicking on the input box makes a - drop-down menu appear which lists ready-made combinations of jack ports, - along with the options disconnect and edit. You can either select a preset - hardware input combination from the drop-down list, or select - edit to open the input selector window which - allows finer control, such as changing the number of inputs to the track or - using software devices as inputs. For more information on this window, see - . Disconnect - removes all input assignments while leaving the number of ports untouched. - -
+
+ Input Selector + + The input selector allows you to assign hardware or software inputs to + the track that this mixer strip monitors. clicking on the input box + makes a drop-down menu appear which lists ready-made combinations of + jack ports, along with the options disconnect and edit. You can either + select a preset hardware input combination from the drop-down list, or + select edit to open the input selector + window which allows finer control, such as changing the number of + inputs to the track or using software devices as inputs. For more + information on this window, see . + Disconnect removes all input assignments while + leaving the number of ports untouched. + +
-
- Polarity Button - - The polarity button, when pressed, inverts the phase of the signal as it - leaves the track and enters the mixer strip. it has no effect on the signal - being recorded to disk. It has no effect on the timing of the signal, - either. - -
+
+ Polarity Button + + The polarity button, when pressed, inverts the phase of the signal as + it leaves the track and enters the mixer strip. it has no effect on + the signal being recorded to disk. It has no effect on the timing of + the signal, either. + +
-
- Solo Button - - The solo button puts the mixer strip in solo mode. the solo indicator in - the editor window will flash if any mixer strip is set to solo, and only - those tracks that are set in solo will be routed through the system. - -
+
+ Solo Button + + The solo button puts the mixer strip in solo mode. the solo indicator + in the editor window will flash if any mixer strip is set to solo, and + only those tracks that are set in solo will be routed through the + system. + +
-
- Mute Button - - The mute button mutes the output of the mixer strip. - -
+
+ Mute Button + + The mute button mutes the output of the mixer strip. + +
-
- Track Speed Control - - The track speed allows a varispeed setting to be applied to the track. a - setting of 1.0 corresponds to the normal playback speed - of the session. a setting of 0.5 will play at half - normal playback speed. when altered, the track will be redrawn to reflect - the new position of the audio resulting from the speed change. The Track - Speed Control has three decimal places of precision. A left or right click - on the displayed number will raise or lower the track speed by 0.1%. when - the speed is not exactly 1, the display will be coloured red. Hovering over - the displayed number will allow you to use the mouse wheel to set the - desired speed. A middle click on the displayed number will return the speed - to exactly 1. - +
+ Track Speed Control + + The track speed allows a varispeed setting to be applied to the track. + a setting of 1.0 corresponds to the normal playback + speed of the session. a setting of 0.5 will play at + half normal playback speed. when altered, the track will be redrawn to + reflect the new position of the audio resulting from the speed change. + The Track Speed Control has three decimal places of precision. A left + or right click on the displayed number will raise or lower the track + speed by 0.1%. when the speed is not exactly 1, the display will be + coloured red. Hovering over the displayed number will allow you to use + the mouse wheel to set the desired speed. A middle click on the + displayed number will return the speed to exactly 1. + - -
+ +
-
- Record Enable Button - - The record enable button arms the track for recording. pressing this will - change the way you monitor and meter the selected input signal depending on - the state of the monitoring settings in the options editor, as well as the - auto input setting in the editor. - -
+
+ Record Enable Button + + The record enable button arms the track for recording. pressing this + will change the way you monitor and meter the selected input signal + depending on the state of the monitoring settings in the options + editor, as well as the auto input setting in the editor. + +
-
- Automation Mode Buttons - - The automation mode buttons allow you to select a fader or pan automation - mode from a drop-down list. see for more - information about automation modes. - -
+
+ Automation Mode Buttons + + The automation mode buttons allow you to select a fader or pan + automation mode from a drop-down list. see + for more information about automation + modes. + +
-
- Redirect Boxes - - These dark areas above and below the fader allow you to place inserts, - sends and plugins into the signal path before and after the fader - respectively. you may also easily reorder them whilst playing. - collectively, the objects that belong in these boxes are called redirects. - If there are redirects present in the channel, they can be reordered by - dragging them vertically. because plugins and inserts can have different - numbers of inputs to outputs, sometimes you may reach a situation where the - inputs and outputs cannot be all connected sensibly. in this case, your - reordering change will be disallowed by the program. - +
+ Redirect Boxes + + These dark areas above and below the fader allow you to place inserts, + sends and plugins into the signal path before and after the fader + respectively. you may also easily reorder them whilst playing. + collectively, the objects that belong in these boxes are called + redirects. If there are redirects present in the channel, they can be + reordered by dragging them vertically. because plugins and inserts can + have different numbers of inputs to outputs, sometimes you may reach a + situation where the inputs and outputs cannot be all connected + sensibly. in this case, your reordering change will be disallowed by + the program. + - - Right clicking within the dark area will bring up a drop-down menu which - allows you to manipulate the redirects in various ways. - + + Right clicking within the dark area will bring up a drop-down menu + which allows you to manipulate the redirects in various ways. + - - Redirect Boxes - - new plugin - - - selecting new plugin will open a dialog which lists the plugins - available on your system. selecting a plugin which is compatible with - the number of streams in the channel at that point will result in the - plugin being placed in the redirect box in an inactive state. this is - indicated by the brackets around the plugin name. double-clicking the - plugin name will bring up a window that allows you to control the - parameters of the plugin statically (including bypass) or using - automation. all plugins that report their latency are time-compensated - automatically in ardour. - - - + + Redirect Boxes + + new plugin + + + selecting new plugin will open a dialog which lists the plugins + available on your system. selecting a plugin which is compatible + with the number of streams in the channel at that point will + result in the plugin being placed in the redirect box in an + inactive state. this is indicated by the brackets around the + plugin name. double-clicking the plugin name will bring up a + window that allows you to control the parameters of the plugin + statically (including bypass) or using automation. all plugins + that report their latency are time-compensated automatically in + ardour. + + + - - new insert - - - places at least two new jack ports at that point in the mixer strip (one - input, one output). these ports will then be available to any jack - client (including Ardour itself), allowing another program (or channels - within another program) to be inserted across the channel. hardware - ports may also, of course, be used, allowing the insertion of outboard - equipment. the insert will then appear in the redirect box in brackets - indicating that it is inactive. to activate or deactivate an insert, - right-click on it and select activate. double-clicking on the insert - will bring up a dialog which allows to to assign its inputs and outputs - to other jack ports. - - - + + new insert + + + places at least two new jack ports at that point in the mixer + strip (one input, one output). these ports will then be + available to any jack client (including Ardour itself), allowing + another program (or channels within another program) to be + inserted across the channel. hardware ports may also, of course, + be used, allowing the insertion of outboard equipment. the + insert will then appear in the redirect box in brackets + indicating that it is inactive. to activate or deactivate an + insert, right-click on it and select activate. double-clicking + on the insert will bring up a dialog which allows to to assign + its inputs and outputs to other jack ports. + + + - - new send - - - selecting new send will first bring up a dialog box that enables you to - select the number of outputs the send has, along with the destination of - each output. closing this dialog will reveal the name of the send in - brackets, indicating that it is inactive. to activate the send, right - click on it and select Activate. double-clicking on the send brings up - the previous dialog, which will now include a fader which is provided - for level control. - - - + + new send + + + selecting new send will first bring up a dialog box that enables + you to select the number of outputs the send has, along with the + destination of each output. closing this dialog will reveal the + name of the send in brackets, indicating that it is inactive. to + activate the send, right click on it and select Activate. + double-clicking on the send brings up the previous dialog, which + will now include a fader which is provided for level control. + + + - - clear - - - selecting clear in the menu removes all redirects from the mixer strip - (pre and post fader). you can remove an individual redirect by holding - the shift key and right clicking it. - - - + + clear + + + selecting clear in the menu removes all redirects from the mixer + strip (pre and post fader). you can remove an individual + redirect by holding the shift key and right clicking it. + + + - - cut, copy, paste - - - these items allow you to cut, copy and paste plugins, including their - current settings, between Redirect Boxes. - - - + + cut, copy, paste + + + these items allow you to cut, copy and paste plugins, including + their current settings, between Redirect Boxes. + + + - - rename - - - selecting rename will bring up a dialog displaying the name of the - selected redirect. change the name by typing into the text area and - pressing ok. - - - + + rename + + + selecting rename will bring up a dialog displaying the name of + the selected redirect. change the name by typing into the text + area and pressing ok. + + + - - select all/deselect all - - - these two options select or deselect all plugins in the channel. this - could be used, for instance, in preparation to copy all plugins from a - channel to another one, along with the current settings. - - - + + select all/deselect all + + + these two options select or deselect all plugins in the channel. + this could be used, for instance, in preparation to copy all + plugins from a channel to another one, along with the current + settings. + + + - - activate/deactivate - - - selecting either of these will activate or deactivate the currently - selected redirect(s) respectively. deactivate is the equivalent of - bypass. - - - - note that you can bypass a plugin from it's parameter window as well as - from here. - - - - + + activate/deactivate + + + selecting either of these will activate or deactivate the + currently selected redirect(s) respectively. deactivate is the + equivalent of bypass. + - - activate all/deactivate all - - - selecting either of these will activate or deactivate all redirect(s) in - the mixer strip respectively. deactivate is the equivalent of - bypass if you're a plugin. - - - + + + note that you can bypass a plugin from it's parameter window + as well as from here. + + + + - - edit - - - selecting edit brings up the controls relevent to the selected redirect. - this is the equivalent to holding control and right-clicking on a - redirect. note that the right click method will not bring up the - controls of the selected redirect, only the one beneath the mouse - pointer. - - - - -
+ + activate all/deactivate all + + + selecting either of these will activate or deactivate all + redirect(s) in the mixer strip respectively. deactivate is the + equivalent of bypass if you're a + plugin. + + + -
- Pre/Post/Input Button - - This button cycles between three metering modes, which determine which - signal is fed to the meters. the modes are pre-fader (the signal at the - input to the fader), post-fader and input (the level at the track input). - left clicking cycles through the three modes one step at a time, while - middle-clicking alternates between the current setting and the setting two - steps ahead. this allows one-click direct a/b comparison between all - available monitoring points. - -
+ + edit + + + selecting edit brings up the controls relevent to the selected + redirect. this is the equivalent to holding control and + right-clicking on a redirect. note that the right click method + will not bring up the controls of the selected redirect, only + the one beneath the mouse pointer. + + + + +
-
- Gain Display - - this control displays the current gain of the fader to the nearest 0.1dB. - left clicking on the value will lower the gain by an amount dependent upon - the fader position the graduations become smaller as the fader nears 0dB - gain. right clicking increases the gain by the same amount. middle clicking - resets the gain to 0dB. - -
+
+ Pre/Post/Input Button + + This button cycles between three metering modes, which determine which + signal is fed to the meters. the modes are pre-fader (the signal at + the input to the fader), post-fader and input (the level at the track + input). left clicking cycles through the three modes one step at a + time, while middle-clicking alternates between the current setting and + the setting two steps ahead. this allows one-click direct a/b + comparison between all available monitoring points. + +
-
- Unit Selector - - Right clicking on the meter bars allows you to select the range of signal - levels displayed by the meters. the selected range will be displayed as a - column of numbers next to the meter. /*XXX this feature is currently not - working*/ Gain Level Display - -
+
+ Gain Display + + this control displays the current gain of the fader to the nearest + 0.1dB. left clicking on the value will lower the gain by an amount + dependent upon the fader position the graduations become smaller as + the fader nears 0dB gain. right clicking increases the gain by the + same amount. middle clicking resets the gain to 0dB. + +
-
- Peak Meter - - This control displays the highest peak since the last peak meter reset. - Resetting the peak meter is achieved by left-clicking the displayed number. - The peak meter monitors the signal selected by the Pre/Post/Input - Button .. the same signal as the meters. It should be noted here - that 0dBfs corresponds a value equal to the maximum input or output level - of your audio hardware, independent of it's bit depth. - -
+
+ Unit Selector + + Right clicking on the meter bars allows you to select the range of + signal levels displayed by the meters. the selected range will be + displayed as a column of numbers next to the meter. /*XXX this feature + is currently not working*/ Gain Level Display + +
-
- Gain Fader - - The fader changes the signal level within the mixer strip before the - post-fader plugins, which are before the output ports. 6dB of gain is - allowed. there are several shortcuts available for the fader. Using the - scroll wheel of your mouse while hovering above the fader will coarsely - change its position. Holding the control key whilst mouse wheeling will - give you finer control. Holding the shift key and clicking the fader will - reset it to unity gain. Holding control and pressing the middle mouse - button whilst over the fader will allow you to bind a midi control to it, - provided you have an available midi device set in the options menu. - -
+
+ Peak Meter + + This control displays the highest peak since the last peak meter + reset. Resetting the peak meter is achieved by left-clicking the + displayed number. The peak meter monitors the signal selected by the + Pre/Post/Input Button .. the same signal as the + meters. It should be noted here that 0dBfs corresponds a value equal + to the maximum input or output level of your audio hardware, + independent of it's bit depth. + +
-
- Meters - - The number of meters displayed next to the fader is dependent on the number - of inputs or outputs the channel has, whichever is greater. The meters - provide a colour-graduated scale from -50 dBfs to +6dBfs. They display the - instantaneous value of the signal at the monitoring point selected by the - Pre/Post/Input button. 0dBfs corresponds a value equal to the maximum input - or output level of your audio hardware, independent of it's bit depth. - Exceeding 0dBfs does not correspond to running out of headroom within the - mixer, or in any signal path subsequent to that point within the Jack - server. It merely means that if that signal is connected directly to a - hardware port whose resolution is less than the 32-bit floating point - resolution that Ardour uses (i.e. a soundcard), then that port will exceed - it's maximum output level, resulting in distortion. hitting 0dB within the - mixer (or any point in the Jack server) means that you have approximately - 100dB of headroom remaining. as it is unlikely that you will reach this - point, it is not represented in any special way by the meter. Naturally, if - the input is selected as the monitoring point for the meter, exceeding - 0dBfs means that the input of your a/d converter has clipped. - -
+
+ Gain Fader + + The fader changes the signal level within the mixer strip before the + post-fader plugins, which are before the output ports. 6dB of gain is + allowed. there are several shortcuts available for the fader. Using + the scroll wheel of your mouse while hovering above the fader will + coarsely change its position. Holding the control key whilst mouse + wheeling will give you finer control. Holding the shift key and + clicking the fader will reset it to unity gain. Holding control and + pressing the middle mouse button whilst over the fader will allow you + to bind a midi control to it, provided you have an available midi + device set in the options menu. + +
-
- Panner - - The panner in Ardour is actually two panners. Because any mixer strip in - Ardour can route any number of streams of audio anywhere, the idea of - panning can be a complex one. To allow for the current stereo-centric - mainstream world as well as the multi-speaker experimental one, one of two - styles of panner will appear here depending on the number of outputs the - channel strip has. In the simple case of mono channel input / stereo - output, a single panner will be present. The current pan position is - represented by a dot (the dot is the audio stream) which lies between the - letters 'L' and 'R', which represent the left and right outputs - respectively. To change the panning position of the stream, move the mouse - while holding down the left mouse button. the dot will follow your mouse - pointer. To introduce sudden changes to the pan setting, place the mouse - pointer over the desired position and click the middle mouse button. The - pan control will immediately snap to the mouse pointer position. The panner - may be bypassed by right-clicking the control and selecting - bypass from the drop-down menu. The panner will - immediately be bypassed. The increased level you notice when the panner is - bypassed is due to the way panning works. It is not a bug. XXX - what gain law is used in the panner? - +
+ Meters + + The number of meters displayed next to the fader is dependent on the + number of inputs or outputs the channel has, whichever is greater. The + meters provide a colour-graduated scale from -50 dBfs to +6dBfs. They + display the instantaneous value of the signal at the monitoring point + selected by the Pre/Post/Input button. 0dBfs corresponds a value equal + to the maximum input or output level of your audio hardware, + independent of it's bit depth. Exceeding 0dBfs does not correspond to + running out of headroom within the mixer, or in any signal path + subsequent to that point within the Jack server. It merely means that + if that signal is connected directly to a hardware port whose + resolution is less than the 32-bit floating point resolution that + Ardour uses (i.e. a soundcard), then that port will exceed it's + maximum output level, resulting in distortion. hitting 0dB within the + mixer (or any point in the Jack server) means that you have + approximately 100dB of headroom remaining. as it is unlikely that you + will reach this point, it is not represented in any special way by the + meter. Naturally, if the input is selected as the monitoring point for + the meter, exceeding 0dBfs means that the input of your a/d converter + has clipped. + +
- - In the case of a stereo input / stereo output combination, two panning - controls will appear, one corresponding to each audio stream. You can - link the controls together in two different ways in - this situation, using the direction arrows next to the - link button. Panners can be linked to travel either - in opposite directions or to maintain a consistent stereo width across the - travel of the control. These two modes are represented by the orientation - of the two arrows next to the link button, which - point in either the same or opposite directions. The - link button must be engaged before you can change - the link mode. To link all the panners in a mixer - strip, left-click the link button, then select the - desired link mode by pressing the button marked with arrows. - +
+ Panner + + The panner in Ardour is actually two panners. Because any mixer strip + in Ardour can route any number of streams of audio anywhere, the idea + of panning can be a complex one. To allow for the current + stereo-centric mainstream world as well as the multi-speaker + experimental one, one of two styles of panner will appear here + depending on the number of outputs the channel strip has. In the + simple case of mono channel input / stereo output, a single panner + will be present. The current pan position is represented by a dot (the + dot is the audio stream) which lies between the letters 'L' and 'R', + which represent the left and right outputs respectively. To change the + panning position of the stream, move the mouse while holding down the + left mouse button. the dot will follow your mouse pointer. To + introduce sudden changes to the pan setting, place the mouse pointer + over the desired position and click the middle mouse button. The pan + control will immediately snap to the mouse pointer position. The + panner may be bypassed by right-clicking the control and selecting + bypass from the drop-down menu. The panner + will immediately be bypassed. The increased level you notice when the + panner is bypassed is due to the way panning works. It is not a bug. + XXX what gain law is used in the panner? + - - Let's get a little more complicated by adding another output to the mixer - strip. From this point onwards, the panning positions are represented with - numbered dots on a square field. Orange dots represent the outputs, and the - numbered dots represent the streams. the position of the outputs change - according to the number of outputs in the strip. This happens in order to - allow the most useful arrangement of the available space. At some point, - adding an output will cause the outputs to line up from the top left of the - panning square towards the centre. this is to allow for the 'multi-speaker - big sweep' to occur - where the sound is panned from speaker to speaker - around the room in sequence. - + + In the case of a stereo input / stereo output combination, two panning + controls will appear, one corresponding to each audio stream. You can + link the controls together in two different ways + in this situation, using the direction arrows next to the + link button. Panners can be linked to travel + either in opposite directions or to maintain a consistent stereo width + across the travel of the control. These two modes are represented by + the orientation of the two arrows next to the + link button, which point in either the same or + opposite directions. The link button must be + engaged before you can change the link mode. To + link all the panners in a mixer strip, left-click the + link button, then select the desired link mode + by pressing the button marked with arrows. + - - Don't forget that you can bypass the panner by right clicking and selecting - bypass from the drop-down menu. this may - simplify your multi-speaker setup, as often in this type of project panning - between all speakers or outputs is not required on all tracks. - -
+ + Let's get a little more complicated by adding another output to the + mixer strip. From this point onwards, the panning positions are + represented with numbered dots on a square field. Orange dots + represent the outputs, and the numbered dots represent the streams. + the position of the outputs change according to the number of outputs + in the strip. This happens in order to allow the most useful + arrangement of the available space. At some point, adding an output + will cause the outputs to line up from the top left of the panning + square towards the centre. this is to allow for the 'multi-speaker big + sweep' to occur - where the sound is panned from speaker to speaker + around the room in sequence. + -
- Output Selector - - The output selector allows you to assign the outputs of each mixer strip. - left-clicking the output selector causes a ready-made list of output ports - to appear in a drop-down menu, along with edit and disconnect options. - Selecting Edit will allow you to change the - number of outputs the channel has, as well as select software and hardware - ports to route signals to. For more information on the window that appears - when you select this option, see the . - Disconnect will leave the number of output ports - unchanged, but remove all assignments to output ports. - -
+ + Don't forget that you can bypass the panner by right clicking and + selecting bypass from the drop-down menu. + this may simplify your multi-speaker setup, as often in this type of + project panning between all speakers or outputs is not required on all + tracks. + +
-
- Scratch Pad - - This is the text area below the output button. it - allows you to enter any notes that you feel may be relevant to that track. - The notes are stored when you save the session. - -
+
+ Output Selector + + The output selector allows you to assign the outputs of each mixer + strip. left-clicking the output selector causes a ready-made list of + output ports to appear in a drop-down menu, along with edit and + disconnect options. Selecting Edit will + allow you to change the number of outputs the channel has, as well as + select software and hardware ports to route signals to. For more + information on the window that appears when you select this option, + see the . + Disconnect will leave the number of output + ports unchanged, but remove all assignments to output ports. + +
+ +
+ Scratch Pad + + This is the text area below the output button. + it allows you to enter any notes that you feel may be relevant to that + track. The notes are stored when you save the session. + +
diff --git a/manual/xml/mixer_window.xml b/manual/xml/mixer_window.xml index 35a50c795f..8346773ee8 100644 --- a/manual/xml/mixer_window.xml +++ b/manual/xml/mixer_window.xml @@ -5,81 +5,85 @@ ]>
- The Mixer - - The mixer window provides a view of the session that mimics a traditional - hardware mixing console. Rather than focusing on the arranging of regions - along a timeline, the mixer is designed to allow you to manipulate the - signal flow elements of a session - gain control, plugins, bussing and so - forth. - + The Mixer + + The mixer window provides a view of the session that mimics a + traditional hardware mixing console. Rather than focusing on the + arranging of regions along a timeline, the mixer is designed to allow + you to manipulate the signal flow elements of a session - gain control, + plugins, bussing and so forth. + - - The left area of the mixer contains three small vertical panes which allow - various operations to be made on the larger area, which of course represents - a mixing console. - + + The left area of the mixer contains three small vertical panes which + allow various operations to be made on the larger area, which of course + represents a mixing console. + - - The lines that outline the three smaller panes all have a small square near - their vertices. This square can be used to resize the four panes that form - the mixer window. Dragging each of these squares with the left mouse button - will move the border. - + + The lines that outline the three smaller panes all have a small square + near their vertices. This square can be used to resize the four panes + that form the mixer window. Dragging each of these squares with the left + mouse button will move the border. + -
- Mixer Window Layout - - - - - - + Mixer Window Layout + + + + + + - -
- Group List - - The group list pane provides an interface to create and control the state - of the mix groups present on the mixer. Mix groups provide a method of - linking faders together, so that a movement on one fader will translate to - all the other faders in the group. - +
+ Group List + + The group list pane provides an interface to create and control the + state of the mix groups present on the mixer. Mix groups provide a + method of linking faders together, so that a movement on one fader + will translate to all the other faders in the group. + - - A new session will contail one group, called all. This preset group refers - to all mixer strips?? what is 'all' doing here? Any - new groups you create will be listed in this pane. Left clicking the - Mix Groups button will open a window titled - Name for a new mix group, which contains a dark text area. - Enter a name for your new mix group in the text area. Left clicking - cancel will close the Name for a new mix - group window. The group list will be unaffected. Left clicking - OK will create a new mix group. The new group will be - listed in the group list pane with an empty box next to it's name. All - mixer strips will now contain the name of the new group in their - group button. Selecting the new group in a mixer - strip will assign control of that channel's gain fader to the selected - group, but only if the group is active. Left clicking - the box next to the group name will activate the group. - + + A new session will contail one group, called all. This preset group + refers to all mixer strips?? what is 'all' doing + here? Any new groups you create will be listed in this + pane. Left clicking the Mix Groups button + will open a window titled Name for a new mix + group, which contains a dark text area. Enter a name for + your new mix group in the text area. Left clicking + cancel will close the Name for a new + mix group window. The group list will be unaffected. Left + clicking OK will create a new mix group. The + new group will be listed in the group list pane with an empty box + next to it's name. All mixer strips will now contain the name of the + new group in their group button. Selecting + the new group in a mixer strip will assign control of that channel's + gain fader to the selected group, but only if the group is + active. Left clicking the box next to the group name will + activate the group. + - - At the bottom right of the group list, a square box provides a method for - resizing the pane. Holding down the left mouse button while dragging the - square vertically will move the lower border of the group list. - -
+ + At the bottom right of the group list, a square box provides a + method for resizing the pane. Holding down the left mouse button + while dragging the square vertically will move the lower border of + the group list. + +
-
- Snapshot List - - Track Name Group Button Input Selector Solo Button Mute Button Polarity - Button Track Speed Control Record Enable Button Automation Record Button - Automation Playback Button Pre/Post Button Gain Display Unit Selector Gain - Level Display Peak Meter Gain Fader Meters Output Selector - -
-
+
+ Snapshot List + + Track Name Group Button Input Selector Solo Button Mute Button + Polarity Button Track Speed Control Record Enable Button Automation + Record Button Automation Playback Button Pre/Post Button Gain + Display Unit Selector Gain Level Display Peak Meter Gain Fader + Meters Output Selector + +
+
diff --git a/manual/xml/mixer_window_key_bindings.xml b/manual/xml/mixer_window_key_bindings.xml index d2a9c252a6..b207203585 100644 --- a/manual/xml/mixer_window_key_bindings.xml +++ b/manual/xml/mixer_window_key_bindings.xml @@ -5,80 +5,90 @@ ]>
- Mixer window key bindings - - Mixer Window Key Bindings - - - - - - - Key Binding - - - Action - - - - - - - right arrow - - - - fast forward/faster - - - - - Shiftright arrowspace - - - - rapid fast forward - - - - - Ctrlright arrow - - - - slow fast forward - - - - - left arrow - - - - rewind/faster - - - - - Shiftleft arrow - - - - rapid rewind - - - - - Ctrlleft arrow - - - - slow rewind - - - - -
+ Mixer window key bindings + + Mixer Window Key Bindings + + + + + + + Key Binding + + + + Action + + + + + + + right arrow + + + + fast forward/faster + + + + + + Shiftright + arrowspace + + + + rapid fast forward + + + + + + Ctrlright arrow + + + + + slow fast forward + + + + + + left arrow + + + + rewind/faster + + + + + + Shiftleft arrow + + + + + rapid rewind + + + + + + Ctrlleft arrow + + + + + slow rewind + + + + +
- - - + - - - - - - - - - - - - - - - - -
diff --git a/manual/xml/mouse_operations_mixer_controls.xml b/manual/xml/mouse_operations_mixer_controls.xml index 67db5347b5..d2e42c44a4 100644 --- a/manual/xml/mouse_operations_mixer_controls.xml +++ b/manual/xml/mouse_operations_mixer_controls.xml @@ -5,169 +5,196 @@ ]>
- Mixer Controls - - Solo, Mute and Rec enable buttons - - - - - - - Mouse Action - - - Result - - - - - - - Button1 click - - - toggle for the track (or the entire mix group when the group is active) - - - - - Button2 click - - - momentary switch - - - - - CtrlButton1 - click - - - toggle for the entire mix group when the group is not active - - - - - ShiftCtrlButton1 - click - - - toggle for all the tracks and busses - - - - - CtrlButton2 - click - - - learn MIDI control - - - - -
- - Solo Buttons Only - - - - - - - Mouse Action - - - Result - - - - - - - ShiftButton1 - click - - - toggle "lock" of current solo state ("solo safe") - - - - - CtrlAltButton1 - click - - - solo only this track or active group, unsolo all others - - - - -
- - Faders - - - - - - - Mouse Action - - - Result - - - - - - - Button1 drag - - - operate fader - - - - - CtrlButton1 - drag - - - finer control - - - - - AltCtrlButton1 - drag - - - finest control - - - - - ShiftButton1 - click - - - reset fader - - - - - CtrlButton2 - click - - - learn MIDI control - - - - -
+ Mixer Controls + + Solo, Mute and Rec enable buttons + + + + + + + Mouse Action + + + + Result + + + + + + + Button1 click + + + + toggle for the track (or the entire mix group when the group is + active) + + + + + + Button2 click + + + + momentary switch + + + + + + CtrlButton1 + click + + + + toggle for the entire mix group when the group is not active + + + + + + ShiftCtrlButton1 + click + + + + toggle for all the tracks and busses + + + + + + CtrlButton2 + click + + + + learn MIDI control + + + + +
+ + + Solo Buttons Only + + + + + + + Mouse Action + + + + Result + + + + + + + ShiftButton1 + click + + + + toggle "lock" of current solo state ("solo safe") + + + + + + CtrlAltButton1 + click + + + + solo only this track or active group, unsolo all others + + + + +
+ + + Faders + + + + + + + Mouse Action + + + + Result + + + + + + + Button1 drag + + + + operate fader + + + + + + CtrlButton1 + drag + + + + finer control + + + + + + AltCtrlButton1 + drag + + + + finest control + + + + + + ShiftButton1 + click + + + + reset fader + + + + + + CtrlButton2 + click + + + + learn MIDI control + + + + +
diff --git a/manual/xml/mouse_operations_ruler.xml b/manual/xml/mouse_operations_ruler.xml index fd41327b56..09b05850b1 100644 --- a/manual/xml/mouse_operations_ruler.xml +++ b/manual/xml/mouse_operations_ruler.xml @@ -5,92 +5,105 @@ ]>
- Ruler Operations - - Marks, Locations - - - - - - - Mouse Action - - - Result - - - - - - - Button1 click in marker, tempo, meter ruler - - - create a new marker - - - - - Button1 drag on a marker - - - move marker - - - - - CtrlButton1 - drag on loop or punch mark - - - move both ends of range at once - - - - - CtrlShiftButton1 - click in marker - - - hide marker but do not remove it - - - - -
- - Punch/Loop Ranges - - - - - - - Mouse Action - - - Result - - - - - - - Button1 drag - - - define a new punch or loop range - - - - - other operations as for marks and locations above - - - - -
+ Ruler Operations + + Marks, Locations + + + + + + + Mouse Action + + + + Result + + + + + + + Button1 click in marker, tempo, meter + ruler + + + + create a new marker + + + + + + Button1 drag on a marker + + + + move marker + + + + + + CtrlButton1 + drag on loop or punch mark + + + + move both ends of range at once + + + + + + CtrlShiftButton1 + click in marker + + + + hide marker but do not remove it + + + + +
+ + + Punch/Loop Ranges + + + + + + + Mouse Action + + + + Result + + + + + + + Button1 drag + + + + define a new punch or loop range + + + + + + other operations as for marks and locations above + + + + +
-
diff --git a/manual/xml/other_windows.xml b/manual/xml/other_windows.xml index d7dd436fc7..d3c2069937 100644 --- a/manual/xml/other_windows.xml +++ b/manual/xml/other_windows.xml @@ -5,230 +5,240 @@ ]>
- Other Windows - - This page summarises various windows you will find in your travels through - Ardour that aren't available from the windows - menu in the editor. They aren't available because they are specific to a - particular object, like a mixer strip, and are launched from the object - itself. - + Other Windows + + This page summarises various windows you will find in your travels + through Ardour that aren't available from the + windows menu in the editor. They aren't + available because they are specific to a particular object, like a mixer + strip, and are launched from the object itself. + -
- Input/Output Connections Editor - - Selecting edit from the input drop-down menu on - a mixer strip will open this window, as will selecting - edit from the output button. The Input/Output - connections editor is one of the strangest interfaces known to man. After a - small amount of use, however, you will find it quite natural to use. - Because these two windows are identical except for 'input' being transposed - with 'output', we will cover the Input Connections Editor here and leave it - up to your imaginative self to work out what it all means in the output - window. - +
+ Input/Output Connections Editor + + Selecting edit from the input drop-down + menu on a mixer strip will open this window, as will selecting + edit from the output button. The + Input/Output connections editor is one of the strangest interfaces + known to man. After a small amount of use, however, you will find it + quite natural to use. Because these two windows are identical except + for 'input' being transposed with 'output', we will cover the Input + Connections Editor here and leave it up to your imaginative self to + work out what it all means in the output window. + - - When the window opens, you will be see that it is divided into two main - areas marked Inputs and Available - Connections . A third area contains buttons marked - rescan, OK and - Cancel. - + + When the window opens, you will be see that it is divided into two + main areas marked Inputs and Available + Connections . A third area contains buttons marked + rescan, OK and + Cancel. + - - The Inputs area has two buttons marked add - input and clear connections. The - add input button adds an audio stream to the mixer - strip. - + + The Inputs area has two buttons marked + add input and clear + connections. The add input button + adds an audio stream to the mixer strip. + - - In other words, if you currently have a two input channel, pressing - add input will make it a three input channel. If you - subsequently record on the corresponding track, each region will comprise - of three channels of audio taken from the inputs you have set in the area - below. - + + In other words, if you currently have a two input channel, pressing + add input will make it a three input channel. + If you subsequently record on the corresponding track, each region + will comprise of three channels of audio taken from the inputs you + have set in the area below. + - - Pressing clear connections will remove all - connections you have assigned in the area below. - + + Pressing clear connections will remove all + connections you have assigned in the area below. + - - Speaking of "the area below", if you've used a template to create your new - session with, the input fields will aready be filled in with default values - that are determined by the number of channels your hardware supports. It - should be noted that by default, inputs are initially set to hardware - ports, as presumably you will be recording from a hardware device - initially. This doesn't indicate a preference on Ardour's part, as software - inputs are just as valid to Ardour as hardware ones. - + + Speaking of "the area below", if you've used a template to create your + new session with, the input fields will aready be filled in with + default values that are determined by the number of channels your + hardware supports. It should be noted that by default, inputs are + initially set to hardware ports, as presumably you will be recording + from a hardware device initially. This doesn't indicate a preference + on Ardour's part, as software inputs are just as valid to Ardour as + hardware ones. + - - Anyway, in "the area below", notice that one input (probably labelled - in 1) is a lighter colour than the other. If you only - have one input at the moment, press add input just - to see the difference. You can remove an input by holding the control key - while right-clicking on the input name. - + + Anyway, in "the area below", notice that one input (probably labelled + in 1) is a lighter colour than the other. If you + only have one input at the moment, press add + input just to see the difference. You can remove an input + by holding the control key while right-clicking on the input name. + - - The lighter coloured input is the one that will be added to when an output - in the Available connections area is clicked. If the - wrong input is highlighted, you can highlight the correct one by - left-clicking the text of the input name you desire. - + + The lighter coloured input is the one that will be added to when an + output in the Available connections area is + clicked. If the wrong input is highlighted, you can highlight the + correct one by left-clicking the text of the input name you desire. + - - Note that you can "mux" as many inputs together as you like when doing - this, they just pile up on top of the last one. Be warned, though, that - they are all summed at unity gain. You can reach some fairly astonishing - levels by doing this a lot. - + + Note that you can "mux" as many inputs together as you like when doing + this, they just pile up on top of the last one. Be warned, though, + that they are all summed at unity gain. You can reach some fairly + astonishing levels by doing this a lot. + - - If you click an output from the Available connections - area, the connection is added to that input's list, the connection is made - active, and the next input is made a lighter colour, indicating that it is - ready to accept your selection. This makes it a simple matter to assign - many connections rapidly. The transport does not have to be stopped to - change inputs or outputs (or anything, really) in Ardour. - + + If you click an output from the Available + connections area, the connection is added to that input's + list, the connection is made active, and the next input is made a + lighter colour, indicating that it is ready to accept your selection. + This makes it a simple matter to assign many connections rapidly. The + transport does not have to be stopped to change inputs or outputs (or + anything, really) in Ardour. + - - Removing assignments is achieved by left-clicking the relevant output in - the inputs area. As with most objects in Ardour, you - can also remove an assignment by holding the shift key while right-clicking - it. - + + Removing assignments is achieved by left-clicking the relevant output + in the inputs area. As with most objects in + Ardour, you can also remove an assignment by holding the shift key + while right-clicking it. + - - The Available connections area lists all available connections, sorted into - tabs which represent their associated hardware or software ports. The front - tab is always alsa_pcm. this represents the physical - ports on your computer. It should contain as many ports as hour hardware - has inputs. - + + The Available connections area lists all available connections, sorted + into tabs which represent their associated hardware or software ports. + The front tab is always alsa_pcm. this represents + the physical ports on your computer. It should contain as many ports + as hour hardware has inputs. + - - The next tab is Ardour. This tab lists all the connections that Ardour has - available, including inserts and sends. If you have some other Jack aware - programs running, they will be given tabs in this area which will - correspond to their Jack output ports. - + + The next tab is Ardour. This tab lists all the connections that Ardour + has available, including inserts and sends. If you have some other + Jack aware programs running, they will be given tabs in this area + which will correspond to their Jack output ports. + - - The rescan button searches for any new available - outputs. It may be necessary to use it if you have started a Jack - application after you open the window. - + + The rescan button searches for any new + available outputs. It may be necessary to use it if you have started a + Jack application after you open the window. + - - The Cancel button closes the window XXX - what really happens? , as does the OK - button. - -
+ + The Cancel button closes the window + XXX what really happens? , as does the + OK button. + +
-
- The LADSPA Plugin Window - - This window opens when you double-left-click or control right-click a - plugin on a mixer strip. It allows you to adjust, store and automate the - controls presented by any LADSPA plugin. Because LADSPA plugins do not - contain graphical interface information, this window adapts itself to suit - the various controls presented by the plugin. The advantage of this system - is that each plugin appears consistently within Ardour. The disadvantage is - that with a few plugins, the controls seem to be laid out in a haphazard - fashion. This is not usually the case, however. - +
+ The LADSPA Plugin Window + + This window opens when you double-left-click or control right-click a + plugin on a mixer strip. It allows you to adjust, store and automate + the controls presented by any LADSPA plugin. Because LADSPA plugins do + not contain graphical interface information, this window adapts itself + to suit the various controls presented by the plugin. The advantage of + this system is that each plugin appears consistently within Ardour. + The disadvantage is that with a few plugins, the controls seem to be + laid out in a haphazard fashion. This is not usually the case, + however. + - - Each plugin window will have a bypass switch in the - top left. Whenever you add a plugin, it's initial state will be bypass. The - button will be red and appear depressed. To activate the plugin, press the - bypass button. you should immediately hear the - plugin inserted in the signal path. All plugins that report their latency - are automatically time compensated sample-accurately. - + + Each plugin window will have a bypass switch in + the top left. Whenever you add a plugin, it's initial state will be + bypass. The button will be red and appear depressed. To activate the + plugin, press the bypass button. you should + immediately hear the plugin inserted in the signal path. All plugins + that report their latency are automatically time compensated + sample-accurately. + - - To the left of the bypass switch you will see the name of the plugin, the - author and the number of inputs and outputs that the plugin makes use of. - To the right will be a text entry area, a list selector and a - Save button. To save a combination of settings, - press the Save button. A window will appear asking - for the name of the preset. Enter a name, press OK, - and your new preset will appear on the list of saved settings. - + + To the left of the bypass switch you will see the name of the plugin, + the author and the number of inputs and outputs that the plugin makes + use of. To the right will be a text entry area, a list selector and a + Save button. To save a combination of settings, + press the Save button. A window will appear + asking for the name of the preset. Enter a name, press + OK, and your new preset will appear on the list + of saved settings. + - - To restore a saved preset, select it from the list. The settings should - immediately be restored as you release the mouse button. - + + To restore a saved preset, select it from the list. The settings + should immediately be restored as you release the mouse button. + - - The rest of the window consists of sliders and buttons which represent the - various controls available for the plugin. To move a slider, left click it - and slide the mouse horizontally over the range of the control. You can see - the numeric value and the bar change as you move the mouse. You can also - press the control key while moving for finer adjustments. - + + The rest of the window consists of sliders and buttons which represent + the various controls available for the plugin. To move a slider, left + click it and slide the mouse horizontally over the range of the + control. You can see the numeric value and the bar change as you move + the mouse. You can also press the control key while moving for finer + adjustments. + - - Next to each control is an automation mode button. The default state is - off. To write automation information, press the - button and select write from the drop-down list. - After engaging the transport, movement of the control will be recorded for - playback when the play automation mode is - selected. Touch mode automatically switches from - play to write as the - control is first selected with the mouse button and released, respectively. - The automation data is accessible from the editor window, along with the - other automation data for the track. - -
+ + Next to each control is an automation mode button. The default state + is off. To write automation information, + press the button and select write from the + drop-down list. After engaging the transport, movement of the control + will be recorded for playback when the play + automation mode is selected. Touch mode + automatically switches from play to + write as the control is first selected with + the mouse button and released, respectively. The automation data is + accessible from the editor window, along with the other automation + data for the track. + +
-
- The Export Window - - The export window appears when either export session to - audiofile or export range to - audiofile have been selected from the session menu. This - window enables an audio file to be rendered from either the master bus or - individual tracks in freewheel mode. A large range of audio file formats - are supported, as is the ability to export a CUE or TOC file representing - any CD index or track markers you may have in the session. Bit depth - reduction can be performed with three types of dither, or no dither. - -
+
+ The Export Window + + The export window appears when either export session to + audiofile or export range to + audiofile have been selected from the session menu. This + window enables an audio file to be rendered from either the master bus + or individual tracks in freewheel mode. A large range of audio file + formats are supported, as is the ability to export a CUE or TOC file + representing any CD index or track markers you may have in the + session. Bit depth reduction can be performed with three types of + dither, or no dither. + +
-
- The Crossfade Editor Window - - The crossfade editor will appear whenever you select - crossfade edit - from any active or inactive crossfade in the editor window. This window - allows you to customise the default crossfade that is automatically applied - when two regions overlap. Provision is made for auditioning different - elements of the crossfade, or the crossfade as a whole. - -
+
+ The Crossfade Editor Window + + The crossfade editor will appear whenever you select + crossfade edit + from any active or inactive crossfade in the editor + window. This window allows you to customise the default crossfade that + is automatically applied when two regions overlap. Provision is made + for auditioning different elements of the crossfade, or the crossfade + as a whole. + +
-
- the Locations Window - - The locations window provides a means to locate to and define points and - ranges in your session. Points and ranges may also be 'promoted' to be CD - Index or CD Track markers, respectively. Once promoted, they may be - exported to a standard T.O.C. or CUE file along with the exported audio - using the export window. The locations window will appear when - windows locations - is selected from the editor window. - -
+
+ the Locations Window + + The locations window provides a means to locate to and define points + and ranges in your session. Points and ranges may also be 'promoted' + to be CD Index or CD Track markers, respectively. Once promoted, they + may be exported to a standard T.O.C. or CUE file along with the + exported audio using the export window. The locations window will + appear when windows + locations is selected from the + editor window. + +
- - + - diff --git a/manual/xml/recording.xml b/manual/xml/recording.xml index 2b56bdf40a..6b3feb6112 100644 --- a/manual/xml/recording.xml +++ b/manual/xml/recording.xml @@ -5,15 +5,15 @@ ]> - Recording - - This section covers the main points of recording audio into an Ardour - session. - - Recording + + This section covers the main points of recording audio into an Ardour + session. + + - - diff --git a/manual/xml/renaming_tracks.xml b/manual/xml/renaming_tracks.xml index e1318550a7..22aa34e72b 100644 --- a/manual/xml/renaming_tracks.xml +++ b/manual/xml/renaming_tracks.xml @@ -5,52 +5,55 @@ ]>
- Renaming Tracks - - Tracks can be renamed from within the Editor - Window or the Mixer Window. - + Renaming Tracks + + Tracks can be renamed from within the + Editor Window or the + Mixer Window. + - - To change the name of a track in the Editor Window click within the track - name field in the Track Controls, - enter the new track name and press the Enter key to confirm - the change. - - - - - - - - If you decide not to rename a track after already changing the content of - the track name field but before confirming the change pressing the - ESC key will restore the original track name. - - - - Several tracks can be renamed quickly in sequence by using the - Tab key to move the focus between the track name fields. - - - - To change the name of a track in Mixer Window click on the track name button - and choose Rename from the pop-up menu. - - - - - - - - A dialog will then appear allowing you to rename the track, input the new - name and press Enter or click - Rename to confirm the name change. - + + To change the name of a track in the Editor Window click within the + track name field in the Track + Controls, enter the new track name and press the + Enter key to confirm the change. + + + + + + + + If you decide not to rename a track after already changing the content + of the track name field but before confirming the change pressing the + ESC key will restore the original track name. + + + + Several tracks can be renamed quickly in sequence by using the + Tab key to move the focus between the track name + fields. + + + + To change the name of a track in Mixer Window click on the track name + button and choose Rename from the pop-up + menu. + + + + + + + + A dialog will then appear allowing you to rename the track, input the + new name and press Enter or click + Rename to confirm the name change. + - - - Changes to track names cannot be undone. - - + + + Changes to track names cannot be undone. + +
diff --git a/manual/xml/saving_a_session.xml b/manual/xml/saving_a_session.xml index 3fcd84a5b3..b430a90256 100644 --- a/manual/xml/saving_a_session.xml +++ b/manual/xml/saving_a_session.xml @@ -1,41 +1,32 @@ +
+ Saving a Session + + Ardour will save your session every time you add a new track/bus, and + after every capture. Saving regularly at other times will help ensure + that your work is preserved on your disk drive. + - Saving a Session +
+ Save the Session File + + Choose Session + Save to save the changes that + have been made to the session. + - - Ardour will save your session every time you add a new track/bus, - and after every capture. Saving regularly at other times will help - ensure that your work is preserved on your disk drive. - - -
- - Save the Session File - - - Choose - - Session - Save - - to save the changes that have been made to the session. - - - - - Saving a session writes a new session in place of the old one, and it - cannot be undone. - - - -
- - + + Saving a session writes a new session in place of the old one, and + it cannot be undone. + + +
+ -
diff --git a/manual/xml/sessions.xml b/manual/xml/sessions.xml index e7c153ee1c..a9e31f5790 100644 --- a/manual/xml/sessions.xml +++ b/manual/xml/sessions.xml @@ -1,39 +1,29 @@ +
- - Sessions - - - This chapter covers the basics of starting a new project with Ardour, - including how to set up a session. - - - Sessions + + This chapter covers the basics of starting a new project with Ardour, + including how to set up a session. + + - - - - - - - - - - - - - - -
diff --git a/manual/xml/setting_up_to_record.xml b/manual/xml/setting_up_to_record.xml index bde52fd06a..88b94bd816 100644 --- a/manual/xml/setting_up_to_record.xml +++ b/manual/xml/setting_up_to_record.xml @@ -5,225 +5,229 @@ ]>
- Setting Up To Record - - This page needs massive work - + Setting Up To Record + + This page needs massive work + - - It is very important that you check your system is connected and configured - correctly before attempting to record. See Hardware Installation for more - information on this topic. - + + It is very important that you check your system is connected and + configured correctly before attempting to record. See Hardware + Installation for more information on this topic. + -
- Connections - -
+
+ Connections + +
-
- Levels - -
+
+ Levels + +
-
- Clipping - -
+
+ Clipping + +
-
- Record Enabling Tracks - -
+
+ Record Enabling Tracks + +
-
- Monitoring - -
+
+ Monitoring + +
-
- Hardware Monitoring - -
+
+ Hardware Monitoring + +
-
- Software Monitoring - -
+
+ Software Monitoring + +
-
- Latency - -
+
+ Latency + +
-
- External Monitoring - -
+
+ External Monitoring + +
-
- Auto-Input - -
+
+ Auto-Input + +
-
- Track Naming - -
+
+ Track Naming + +
-
- Default names - -
+
+ Default names + +
-
- Disk Allocation - - It is of course possible to use Ardour on a single-disk system, but you are - more likely to have performance problems this way. - +
+ Disk Allocation + + It is of course possible to use Ardour on a single-disk system, but + you are more likely to have performance problems this way. + - - If you have more than one disk available, we highly recommend using one - "system" disk and one or more "audio" disks. - + + If you have more than one disk available, we highly recommend using + one "system" disk and one or more "audio" disks. + -
- Using the system disk - - The "system" disk is the main disk on which your operating system and - (usually) all your installed software reside. - +
+ Using the system disk + + The "system" disk is the main disk on which your operating system + and (usually) all your installed software reside. + - - If you have any other disks available, it is usually - not - advisable to put your Ardour session and all its soundfiles on the main - system disk. The reason is that this disk may be used at any time by the - OS or other programs and, if Ardour is trying to play a large amount of - disk data at that moment, in the worst case this can cause Ardour's - playback to stop completely. (insert screenshot of error dialog here) - + + If you have any other disks available, it is usually + not advisable to put your Ardour session and + all its soundfiles on the main system disk. The reason is that this + disk may be used at any time by the OS or other programs and, if + Ardour is trying to play a large amount of disk data at that moment, + in the worst case this can cause Ardour's playback to stop + completely. (insert screenshot of error dialog here) + - - Even so, if you have only two disks (the system disk and your audio disk), - it is possible that a large session will reach the performance limits of a - single dedicated audio disk. In this case, it may be better to put some - audio data on the system disk as described in the Soft RAID section below. - -
+ + Even so, if you have only two disks (the system disk and your audio + disk), it is possible that a large session will reach the + performance limits of a single dedicated audio disk. In this case, + it may be better to put some audio data on the system disk as + described in the Soft RAID section below. + +
-
- Using Multiple Disks -
- Hardware RAID - - You can of course use a normal RAID disk array to spread data across - multiple disks. This is beyond the scope of this manual. - -
+
+ Using Multiple Disks +
+ Hardware RAID + + You can of course use a normal RAID disk array to spread data + across multiple disks. This is beyond the scope of this manual. + +
-
- Ardour's "Soft" RAID Path - - It is possible to spread the resources for your Ardour session across - multiple disks. This can increase the number of tracks or regions you can - work with at once. - +
+ Ardour's "Soft" RAID Path + + It is possible to spread the resources for your Ardour session + across multiple disks. This can increase the number of tracks or + regions you can work with at once. + - - There is no reason to do this if your computer has only one disk. - + + There is no reason to do this if your computer has only one disk. + - - To use the "soft RAID" feature, manually create a new directory on - another disk. Open the Options Editor window. Click on the Paths/Files - tab. In the "session RAID path" text box, you will see that the default - value is the path to the directory where your current session lives. But - this Session RAID Path can actually be a colon-separated list of - directories. To add your new directory to this list, type a single colon - after the existing Session RAID Path, followed by the full path to the - new directory. Ardour will now record new tracks to either directory. - (question: how does ardour decide which files go where?) - + + To use the "soft RAID" feature, manually create a new directory on + another disk. Open the Options Editor window. Click on the + Paths/Files tab. In the "session RAID path" text box, you will see + that the default value is the path to the directory where your + current session lives. But this Session RAID Path can actually be + a colon-separated list of directories. To add your new directory + to this list, type a single colon after the existing Session RAID + Path, followed by the full path to the new directory. Ardour will + now record new tracks to either directory. (question: how does + ardour decide which files go where?) + - - You can squeeze some more disk performance out of an existing session by - following the above procedure, then manually moving some files from the - sounds/ - subdirectory of the existing session into a - sounds/ - subdirectory of your new directory. Be very careful when doing this! If - you accidentally delete these sound files, Ardour cannot magically fix it - for you. - + + You can squeeze some more disk performance out of an existing + session by following the above procedure, then manually moving + some files from the + sounds/ + subdirectory of the existing session into a + sounds/ + subdirectory of your new directory. Be very careful when doing + this! If you accidentally delete these sound files, Ardour cannot + magically fix it for you. + - - - If you use the "soft" RAID feature described above, take care to - remember this when making and restoring session backups! You will not be - happy if you forget to back up one of your data directories; and - restoring a backup won't work if you don't make sure that the "Session - RAID Path" setting corresponds to the directories where you actually put - the restored files. - - -
-
-
+ + + If you use the "soft" RAID feature described above, take care to + remember this when making and restoring session backups! You + will not be happy if you forget to back up one of your data + directories; and restoring a backup won't work if you don't make + sure that the "Session RAID Path" setting corresponds to the + directories where you actually put the restored files. + + +
+
+
-
- Recording modes -
- destructive recording - - When creating tracks, there are 2 different options: Normal tracks and - Tape tracks. Tape tracks implement a "destructive" style of recording that - is useful when you will be making multiple recordings to the same track, - and you don't want to keep a separate "region" on disk for each take. - There is no undo function (yet) and there is no way to edit a tape track - (yet). So what is this good for? Well, consider the case where you are - doing a final mixdown of a project. You could record-enable two Tape - tracks, and send the master bus output to these tracks. Every time you - play through a section of the project, the resulting mix will be recorded - onto the continuous tape track. Once you reach the end of the project, you - can send the resultant wav file directly to the next production step. - There is no "rendering" step required. The utility of this increases when - you are using an outboard, automated mixer. This type of recording is very - common on a film dubbing stage. - -
-
+
+ Recording modes +
+ destructive recording + + When creating tracks, there are 2 different options: Normal tracks + and Tape tracks. Tape tracks implement a "destructive" style of + recording that is useful when you will be making multiple recordings + to the same track, and you don't want to keep a separate "region" on + disk for each take. There is no undo function (yet) and there is no + way to edit a tape track (yet). So what is this good for? Well, + consider the case where you are doing a final mixdown of a project. + You could record-enable two Tape tracks, and send the master bus + output to these tracks. Every time you play through a section of the + project, the resulting mix will be recorded onto the continuous tape + track. Once you reach the end of the project, you can send the + resultant wav file directly to the next production step. There is no + "rendering" step required. The utility of this increases when you + are using an outboard, automated mixer. This type of recording is + very common on a film dubbing stage. + +
+
-
- loop recording - -
+
+ loop recording + +
-
- Punch Recording - -
+
+ Punch Recording + +
-
- Recording with a Click track - -
+
+ Recording with a Click track + +
-
- The Click Track - - Enabling the click Routing the click Specifying click sounds Default Meter - Default Tempo - -
+
+ The Click Track + + Enabling the click Routing the click Specifying click sounds Default + Meter Default Tempo + +
-
- Tempo - - manual tempo tap tempo - -
+
+ Tempo + + manual tempo tap tempo + +
- - A snapshot is nothing more than a new session file. It still references the - same audio and automation data as the primary session file. - + + A snapshot is nothing more than a new session file. It still references + the same audio and automation data as the primary session file. + - - - Saving a snapshot does not change the status of the current session. It - does not change what will happen when you choose - Session Save at a - later time. Note that a snapshot is not a new session. - - + + + Saving a snapshot does not change the status of the current session. + It does not change what will happen when you choose + Session Save + at a later time. Note that a snapshot is not a new session. + + -
diff --git a/manual/xml/tracks_and_busses.xml b/manual/xml/tracks_and_busses.xml index cbe1d7c662..d008a64864 100644 --- a/manual/xml/tracks_and_busses.xml +++ b/manual/xml/tracks_and_busses.xml @@ -5,319 +5,317 @@ ]>
- Tracks and Busses - - This chapter covers basic management of tracks. Tracks are probably the most - important objects in Ardour. They represent the fundamental way to playback - and record audio, MIDI, and image data. - - - - - - -
- Creating Tracks - - Tracks may be added to the session at any time. - - - - Creating a new Track - - - Choose Session Add - Track/Bus - - - - - add_track.ps Add Track Dialog - - - - - In the Add Tracks dialog, choose whether you wish to add a new Track or a - new Bus. - - - - - Enter the number of new tracks/busses you want to add. - - - - - Choose the I/O configuration of the tracks/busses you are adding using - the clickbox. - - - -
- - Tracks and Busses + + This chapter covers basic management of tracks. Tracks are probably the + most important objects in Ardour. They represent the fundamental way to + playback and record audio, MIDI, and image data. + + + + + + +
+ Creating Tracks + + Tracks may be added to the session at any time. + + Creating a new Track + + + Choose Session Add + Track/Bus + + + + + add_track.ps Add Track Dialog + + + + + In the Add Tracks dialog, choose whether you wish to add a new + Track or a new Bus. + + + + + Enter the number of new tracks/busses you want to add. + + + + + Choose the I/O configuration of the tracks/busses you are adding + using the clickbox. + + + +
+ +
+ Deleting Tracks + + Deleting a track is permanent operation that cannot be undone. + However, since the audio, MIDI, automation and other data associated + with the track will remain as part of the session, and the actual + playlist(s) that were in use by the track are still available. for use + by other tracks. As a result, although inadvertently deleting a track + is inconvenient, it doesn't result in any significant loss of + information. + -
- Deleting Tracks - - Deleting a track is permanent operation that cannot be undone. However, - since the audio, MIDI, automation and other data associated with the track - will remain as part of the session, and the actual playlist(s) that were in - use by the track are still available. for use by other tracks. As a result, - although inadvertently deleting a track is inconvenient, it doesn't result - in any significant loss of information. - +
+ deleting a track + + Click on the name of the track you want to delete. From the menu + that appears, select Remove. A + confirmation dialog will appear to ensure that you really meant to + remove the track. + +
+
-
- deleting a track - - Click on the name of the track you want to delete. From the menu that - appears, select Remove. A confirmation dialog will appear to ensure that - you really meant to remove the track. - -
-
+
+ Hiding Tracks + + The track list on the left edge of the Editor and Mixer can be used to + hide or show specific tracks in either or both of those two windows. + To hide a track, click to on the tracks name in the relevant track + list. To show a track, click on its name in the track list. Visible + tracks have their names shown in cyan, hidden ones in orange. + -
- Hiding Tracks - - The track list on the left edge of the Editor and Mixer can be used to hide - or show specific tracks in either or both of those two windows. To hide a - track, click to on the tracks name in the relevant track list. To show a - track, click on its name in the track list. Visible tracks have their names - shown in cyan, hidden ones in orange. - + + You can also hide any track by clicking its hide button + (images/hidebutton.ps). + - - You can also hide any track by clicking its hide button - (images/hidebutton.ps). - + + Hiding a track in the Editor has no effect on its visibility in the + Mixer, and vice versa. Hiding a track in one or both windows does not + affect the playback of that track's material. + +
- - Hiding a track in the Editor has no effect on its visibility in the Mixer, - and vice versa. Hiding a track in one or both windows does not affect the - playback of that track's material. - -
+
+ Track Visibility +
+ Showing all Tracks + + Click on the titlebar of the track list of the Editor or Mixer. From + the menu that appears, select "Show All" + +
-
- Track Visibility -
- Showing all Tracks - - Click on the titlebar of the track list of the Editor or Mixer. From the - menu that appears, select "Show All" - -
+
+ Hiding all Tracks + + Click on the titlebar of the track list of the Editor or Mixer. From + the menu that appears, select "Hiding All". + +
-
- Hiding all Tracks - - Click on the titlebar of the track list of the Editor or Mixer. From the - menu that appears, select "Hiding All". - -
+
+ Showing certain classes of tracks + + Click on the titlebar of the track list of the Editor or Mixer. From + the menu that appears, select "Show All Audio Tracks", or "Show all + Busses" as appropriate. + +
-
- Showing certain classes of tracks - - Click on the titlebar of the track list of the Editor or Mixer. From the - menu that appears, select "Show All Audio Tracks", or "Show all Busses" as - appropriate. - -
+
+ Hiding certain classes of tracks + + Click on the titlebar of the track list of the Editor or Mixer. From + the menu that appears, select "Hide All Audio Tracks", or "Hide all + Busses" as appropriate. + +
-
- Hiding certain classes of tracks - - Click on the titlebar of the track list of the Editor or Mixer. From the - menu that appears, select "Hide All Audio Tracks", or "Hide all Busses" as - appropriate. - -
+
+ Reordering Tracks + + Tracks may be reordered by clicking on their name in one of the + track lists and dragging it to a new position in the list. Note that + the order of tracks in the editor is totally independent of their + order in the mixer. + +
+
-
- Reordering Tracks - - Tracks may be reordered by clicking on their name in one of the track - lists and dragging it to a new position in the list. Note that the order - of tracks in the editor is totally independent of their order in the - mixer. - -
-
+
+ I/O Configuration + +
-
- I/O Configuration - -
+
+ Soloing Tracks + + "Soloing" a track refers to changing some aspect of the signal flow + through Ardour that makes it possible to listen to one (or just a few) + tracks at a time. It is often done during mixing and mastering to help + an audio engineer listen carefully to parts of the mix. + -
- Soloing Tracks - - "Soloing" a track refers to changing some aspect of the signal flow through - Ardour that makes it possible to listen to one (or just a few) tracks at a - time. It is often done during mixing and mastering to help an audio - engineer listen carefully to parts of the mix. - + + Tracks may be soloed at any time. When one or more tracks are soloed, + all non-soloedntracks will no longer be audible. + - - Tracks may be soloed at any time. When one or more tracks are soloed, all - non-soloedntracks will no longer be audible. - + + Soloing tracks does not affect the solo status of busses, nor vice + versa. That is, soloing a track leaves all busses audible and soloing + a track leaves all tracks "audible". You may not actually be able to + hear the "audible" material if it is routed through a non-soloed bus. + - - Soloing tracks does not affect the solo status of busses, nor vice versa. - That is, soloing a track leaves all busses audible and soloing a track - leaves all tracks "audible". You may not actually be able to hear the - "audible" material if it is routed through a non-soloed bus. - + + This design is intended to allow FX busses and master outs to be + useful even when soloing. Soloing is made significantly more complex + by the presence of control outs (see control_outs_soloing for more + details on soloing with control outs). + - - This design is intended to allow FX busses and master outs to be useful - even when soloing. Soloing is made significantly more complex by the - presence of control outs (see control_outs_soloing for more details on - soloing with control outs). - +
+ Rude Solo Light + + Whenever one or more tracks are soloed, the "rude solo light" in the + transport window will flash. You can cancel any current solos by + clicking on the "rude solo light". + +
-
- Rude Solo Light - - Whenever one or more tracks are soloed, the "rude solo light" in the - transport window will flash. You can cancel any current solos by clicking - on the "rude solo light". - -
+
+ Solo modes + + Ardour has two solo modes. + -
- Solo modes - - Ardour has two solo modes. - + + + + solo latch + + + soloing a track adds it to the set of soloed tracks, so you + may have any number of soloed tracks. + + + - - - - solo latch - - - soloing a track adds it to the set of soloed tracks, so you may have - any number of soloed tracks. - - - + + solo unlatch + + + soloing a track unsolos any other soloed track, so you can + have only one soloed track at a time. + + + + +
- - solo unlatch - - - soloing a track unsolos any other soloed track, so you can have only - one soloed track at a time. - - - - -
+
+ Changing Solo Mode + + To change the solo mode, goto the Options editor (options_editor) + and view the Misc tab. + +
-
- Changing Solo Mode - - To change the solo mode, goto the Options editor (options_editor) and view - the Misc tab. - -
+
+ Soloing a Track + + To toggle the solo state of a track, click on the solo button in + either the mixer strip for the track or the track controls section + in the editor. + -
- Soloing a Track - - To toggle the solo state of a track, click on the solo button in either - the mixer strip for the track or the track controls section in the editor. - + + To toggle the solo state of all tracks in an edit or mix group, use + Ctrl1 on the solo button of a track in the group. If you do this in + the Editor, the edit group will be used; in the Mixer, the mix group + will be used. + - - To toggle the solo state of all tracks in an edit or mix group, use Ctrl1 - on the solo button of a track in the group. If you do this in the Editor, - the edit group will be used; in the Mixer, the mix group will be used. - + + To toggle the solo state of all tracks, use + CtrlShiftButton1 + on a track solo button. + +
- - To toggle the solo state of all tracks, use - CtrlShiftButton1 - on a track solo button. - -
+
+ Solo safe + + To protect a track's current solo status, use Shift1 on that track's + solo button. The color of the button will change to a pale blue to + indicate "solo safe" status. No changes to the solo state for that + track are possible until "solo safe" has been unset for the track. + +
-
- Solo safe - - To protect a track's current solo status, use Shift1 on that track's solo - button. The color of the button will change to a pale blue to indicate - "solo safe" status. No changes to the solo state for that - track are possible until "solo safe" has been unset for the track. - -
+
+ Momentary solo + + Use 2 on a track's solo button to solo the track for as long as the + mouse button is pressed. + +
+
-
- Momentary solo - - Use 2 on a track's solo button to solo the track for as long as the mouse - button is pressed. - -
-
+
+ Track Display Size + + In the editor window, tracks always extend across the full extent of + the track display area, but they can have varying heights. In the + mixer window, tracks always from the top to the bottom of the mixer + (as strips), but they can have varying widths. + -
- Track Display Size - - In the editor window, tracks always extend across the full extent of the - track display area, but they can have varying heights. In the mixer window, - tracks always from the top to the bottom of the mixer (as strips), but they - can have varying widths. - +
+ Changing editor track height + +
-
- Changing editor track height - -
+
+ Changing mixer track width + +
+
-
- Changing mixer track width - -
-
+
+ Grouping Tracks +
+ Creating a Group + +
-
- Grouping Tracks -
- Creating a Group - -
+
+ Renaming a Group + +
-
- Renaming a Group - -
+
+ Changing members of a group + +
-
- Changing members of a group - -
+
+ Deleting a Group + +
+
-
- Deleting a Group - -
-
- -
- Track Controls - -
- - + Track Controls + +
+ - -
diff --git a/manual/xml/user_interface_conventions.xml b/manual/xml/user_interface_conventions.xml index b79fea1e87..61f80ad6ba 100644 --- a/manual/xml/user_interface_conventions.xml +++ b/manual/xml/user_interface_conventions.xml @@ -5,173 +5,177 @@ ]>
- Interface Basics + Interface Basics + + Although Ardour has a fairly conventional graphical user interface, + there are a few elements that are unique to it and are probably new to + you. This chapter provides a guide to using these aspects of the + interface. + - - Although Ardour has a fairly conventional graphical user interface, there - are a few elements that are unique to it and are probably new to you. This - chapter provides a guide to using these aspects of the interface. - +
+ Mouse Clicks +
+ Click + + When we say "click on" without specifying a mouse button, we mean + use Button1 to click on a user interface + element (button, fader, menu, etc). + +
-
- Mouse Clicks +
+ Context Click + + As in most graphical user interfaces today, a "context click" + (Button3) in many parts of the user + interface will popup a context-specific menu, allowing you to set + parameters or carry out operations. There are a lot of examples of + this, but trying it on an audio region, a mixer mute button and a + mixer strip name will show the general idea. + +
-
- Click +
+ Delete & Edit Click + + There are two additional mouse/key combinations that you should be + familiar and comfortable with. They are called "delete click" and + "edit click", and by default they consist + ShiftButton3 + click and + CtrlButton3 + click respectively. A delete click on most objects within Ardour's + editor will delete that object. This includes regions, markers, + curve control points and so on. An edit click on the any of the same + kind of objects will pop up an editor dialog for that object. + +
+
- - When we say "click on" without specifying a mouse button, we mean use - Button1 to click on a user interface element (button, fader, menu, etc). - -
+
+ Clocks + + There are several clocks in Ardour's user interface, some of them + visible all the time, others in windows that are only shown by + request. All these clocks are identical to each other in their + functionality, although some can be edited by the user and some are + for display only. + -
- Context Click + + Context clicking on a clock brings up a menu that allows you to modify + the display mode of that clock. The choices are: + - - As in most graphical user interfaces today, a "context click" (Button3) in - many parts of the user interface will popup a context-specific menu, - allowing you to set parameters or carry out operations. There are a lot of - examples of this, but trying it on an audio region, a mixer mute button - and a mixer strip name will show the general idea. - -
+ + + + Audio Frames + + -
- Delete & Edit Click + + + BBT (Bars,Beats,Ticks - musical tempo & meter based time) + + - - There are two additional mouse/key combinations that you should be - familiar and comfortable with. They are called "delete click" and "edit - click", and by default they consist - ShiftButton3 click and - CtrlButton3 click respectively. A delete click on most objects within - Ardour's editor will delete that object. This includes regions, markers, - curve control points and so on. An edit click on the any of the same kind - of objects will pop up an editor dialog for that object. - -
-
+ + + SMPTE + + -
- Clocks + + + Min:Sec + + + - - There are several clocks in Ardour's user interface, some of them visible - all the time, others in windows that are only shown by request. All these - clocks are identical to each other in their functionality, although some - can be edited by the user and some are for display only. - + + Each clock mode has a number of different fields. For example, SMPTE + has hours, minutes, seconds, and video frames. + - - Context clicking on a clock brings up a menu that allows you to modify the - display mode of that clock. The choices are: - + + To edit the value of a particular clock, click in the leftmost field + you want to modify. You can then enter a new value for that field + using numeric keys, along with '.' where appropriate. Editing will + move the next field of the clock after you have entered the maximum + number of digits for a field. To move to the next field before this + press Tab. To finish editing, either press Return or + use the Tab key to advance through all remaining + fields. + +
- - - - Audio Frames - - - - - BBT (Bars,Beats,Ticks - musical tempo & meter based time) - - - - - SMPTE - - - - - Min:Sec - - - +
+ Bar Controllers + + Bar controllers were inspired by a comment made by "Larry the O" in + Electronic Musician in 2001. + - - Each clock mode has a number of different fields. For example, SMPTE has - hours, minutes, seconds, and video frames. - + + A bar controller is a user interface element that works rather + differently than any standard element found in most programs. They are + used to provide a combined method of displaying and modifying a + parameter. + - - To edit the value of a particular clock, click in the leftmost field you - want to modify. You can then enter a new value for that field using numeric - keys, along with '.' where appropriate. Editing will move the next field of - the clock after you have entered the maximum number of digits for a field. - To move to the next field before this press Tab. To finish editing, either - press Return or use the Tab key to advance through all remaining fields. - -
+ + To graphically edit the value of the parameter represented by a bar + controller, press Button1 and drag the + controller left/right or up/down as appropriate. To edit the value + with greater precision, double click the controller and it will + transform into a data entry box. You can enter an exact value for the + parameter, or use arrow buttons to increment/decrement the displayed + value. When you are finished editing, the Enter or Tab keys will + transform the data entry box back into the normal version of the bar + controller. + +
-
- Bar Controllers +
+ Click Boxes + + Click boxes were also inspired by Larry's comment. + - - Bar controllers were inspired by a comment made by "Larry the O" in - Electronic Musician in 2001. - + + A click box is, as its name suggests, just a part of a window you can + click on to change some parameter or control value. + - - A bar controller is a user interface element that works rather differently - than any standard element found in most programs. They are used to provide - a combined method of displaying and modifying a parameter. - + + Clicking with 3 moves the parameter to the next value, clicking with 1 + moves to the previous value. Clicking and holding either button will + automatically advance through the possible values in the appropriate + direction. + - - To graphically edit the value of the parameter represented by a bar - controller, press Button1 and drag the controller left/right or up/down as - appropriate. To edit the value with greater precision, double click the - controller and it will transform into a data entry box. You can enter an - exact value for the parameter, or use arrow buttons to increment/decrement - the displayed value. When you are finished editing, the Enter or Tab keys - will transform the data entry box back into the normal version of the bar - controller. - -
+ + + we are slowly eliminating click boxes in favor of bar controllers + + +
-
- Click Boxes - - - Click boxes were also inspired by Larry's comment. - - - - A click box is, as its name suggests, just a part of a window you can click - on to change some parameter or control value. - - - - Clicking with 3 moves the parameter to the next value, clicking with 1 - moves to the previous value. Clicking and holding either button will - automatically advance through the possible values in the appropriate - direction. - - - - - we are slowly eliminating click boxes in favor of bar controllers - - -
- -
- Panes - - - Panes are user interface elements that allow you to adjust the relative - sizes of two sections of a window. The panes in Ardour work perfectly - normally but have one additional feature: a Delete-click on the pane - divider will completely hide one side of its two sections. Which section - depends on the pane, and is not user configurable, but is neary always - precisely what you'd want anyway. If the pane is already hidden, then - Delete-click (on the still-visible pane) will restore it to the size it had - before it was hidden. - -
+
+ Panes + + Panes are user interface elements that allow you to adjust the + relative sizes of two sections of a window. The panes in Ardour work + perfectly normally but have one additional feature: a Delete-click on + the pane divider will completely hide one side of its two sections. + Which section depends on the pane, and is not user configurable, but + is neary always precisely what you'd want anyway. If the pane is + already hidden, then Delete-click (on the still-visible pane) will + restore it to the size it had before it was hidden. + +
- . - -
+ . + +
-
- No restrictions on track I/O configuration - - Tracks and busses in ardour do not come in pre-determined configurations. - You can create a mono track, and convert it to a stereo track at any time. - You can convert it to a track with 3 inputs and 7 outputs if you want, - because Ardour also doesn't restrict track I/O configurations to a fixed - set of mono/stereo/5.1/7.1 etc. In addition, because of Ardour's use of - JACK , a track with one input - can actually receive data from many different locations. You can also - connect any track to any number of other tracks and busses. In Ardour, the - only difference between a track and a bus is that a track plays back - pre-recorded material from your disk drives and can record to them. Both - tracks and busses can have plugins, sends, inserts, automation data and - more. - -
+
+ No restrictions on track I/O configuration + + Tracks and busses in ardour do not come in pre-determined + configurations. You can create a mono track, and convert it to a + stereo track at any time. You can convert it to a track with 3 inputs + and 7 outputs if you want, because Ardour also doesn't restrict track + I/O configurations to a fixed set of mono/stereo/5.1/7.1 etc. In + addition, because of Ardour's use of + JACK , a track with one + input can actually receive data from many different locations. You can + also connect any track to any number of other tracks and busses. In + Ardour, the only difference between a track and a bus is that a track + plays back pre-recorded material from your disk drives and can record + to them. Both tracks and busses can have plugins, sends, inserts, + automation data and more. + +
-
- Your audio hardware is not the only I/O option - - Because Ardour uses JACK , your - session isn't limited to receiving and sending audio to and from your audio - interface. It can freely send and receive audio signals to any other JACK - application, in some cases even JACK applications running on other - computers. On the one hand, this makes understanding the I/O options for a - track or bus a little more complex than in a conventional program, but it - also adds incredible power to Ardour, as you will see later. - -
+
+ Your audio hardware is not the only I/O option + + Because Ardour uses JACK , + your session isn't limited to receiving and sending audio to and from + your audio interface. It can freely send and receive audio signals to + any other JACK application, in some cases even JACK applications + running on other computers. On the one hand, this makes understanding + the I/O options for a track or bus a little more complex than in a + conventional program, but it also adds incredible power to Ardour, as + you will see later. + +
- Region Context Menu - - If you context-click on a region, a popup menu will appear. At or near the - top of that menu is a list of all regions that exist in the clicked-upon - track under the mouse pointer. Each region entry (shown by name) points to - a submenu that contains region-specific operations: - +
+ Fixed-time copying + + If you want to copy region(s) to other track(s) but keep the copies + at the exact position on the timeline as the originals, simply use + CtrlButton2 + instead of + CtrlButton1. + +
+ - - - - Popup region editor - - - creates and displays the editor for this region, allowing even more - specific control over the region than this menu - - - +
+ Trimming Regions + +
- - Raise to top layer - - - moves the region to the top layer of this track (works only in "Most - recently added/moved/trimmed regions are higher" layer - mode - - - +
+ Auditioning Regions + +
- - Lower to bottom layer - - - moves the region to the bottom layer of this track (works only in "Most - recently added/moved/trimmed regions are higher" layer - mode - - - +
+ Region Gain Envelopes + +
- - Define sync point - - - if the edit cursor is within this region, defines the region sync point - at the edit cursor location. - - - +
+ + Region Context Menu + + If you context-click on a region, a popup menu will appear. At or near + the top of that menu is a list of all regions that exist in the + clicked-upon track under the mouse pointer. Each region entry (shown + by name) points to a submenu that contains region-specific operations: + - - Remove sync point - - - - + + + + Popup region editor + + + creates and displays the editor for this region, allowing even + more specific control over the region than this menu + + + - - Audition - - - plays this region via the auditioner - - - + + Raise to top layer + + + moves the region to the top layer of this track (works only in + "Most recently added/moved/trimmed regions are higher" + layer mode + + + - - Export - - - exports this region to a new audio file, via the export dialog (thus - allowing resampling, dithering, format specification etc.) - - - + + Lower to bottom layer + + + moves the region to the bottom layer of this track (works only + in "Most recently added/moved/trimmed regions are higher" + layer mode + + + - - Bounce - - - re-records this region (with any plugins/inserts applied) to a new audio - file, and replaces the region with one referring to the new file. - - - + + Define sync point + + + if the edit cursor is within this region, defines the region + sync point at the edit cursor location. + + + - - Lock - - - prevents the region from being moved, trimmed, or modified in almost any - way. - - - + + Remove sync point + + + + - - Unlock - - - removes the lock on region modification - - - + + Audition + + + plays this region via the + auditioner + + + - - Mute - - - makes the region silent during playback - - - + + Export + + + exports this region to a new audio file, via the export dialog + (thus allowing resampling, dithering, format specification etc.) + + + - - Unmute - - - - + + Bounce + + + re-records this region (with any plugins/inserts applied) to a + new audio file, and replaces the region with one referring to + the new file. + + + - - Toggle envelope visibility - - - shows/hides the region gain envelope - - - + + Lock + + + prevents the region from being moved, trimmed, or modified in + almost any way. + + + - - Toggle envelope active - - - turns the region gain envelope on/off (the line is gray when the - envelope is off, green when it is on) - - - + + Unlock + + + removes the lock on region modification + + + - - Original position - - - if the region was recorded (and Broadcast WAVE was the native file - format) moves the region to its original capture position - - - + + Mute + + + makes the region silent during playback + + + - - Normalize - - - alters the gain processing of the region so that the loudest sample is - at 0dBFS - - - + + Unmute + + + + - - DeNormalize - - - undoes the effect of a normalize - - - + + Toggle envelope visibility + + + shows/hides the region gain envelope + + + - - Reverse - - - writes the region to a new audio file with the contents reversed, and - replaces the region with one referring to the new file - - - + + Toggle envelope active + + + turns the region gain envelope on/off (the line is gray when the + envelope is off, green when it is on) + + + - - Nudge - - - moves the region in various ways - - - + + Original position + + + if the region was recorded (and Broadcast WAVE was the native + file format) moves the region to its original capture position + + + - - Nudge fwd - - - moves the region forward by the amount shown in the nudge clock - - - + + Normalize + + + alters the gain processing of the region so that the loudest + sample is at 0dBFS + + + - - Nudge bwd - - - moves the region backward by the amount shown in the nudge clock - - - + + DeNormalize + + + undoes the effect of a normalize + + + - - Nudge fwd by capture offset - - - moves the region forward by the same offset that it might have been - (incorrectly) adjusted by when captured - - - + + Reverse + + + writes the region to a new audio file with the contents + reversed, and replaces the region with one referring to the new + file + + + - - Nudge bwd by capture offset - - - moves the region backwards by the same offset that it might have been - (incorrectly) adjusted by when captured - - - + + Nudge + + + moves the region in various ways + + + - - Trim - - - - + + Nudge fwd + + + moves the region forward by the amount shown in the nudge clock + + + - - Start to edit cursor - - - adjusts the start of the region to the current position of the edit - cursor (if possible) - - - + + Nudge bwd + + + moves the region backward by the amount shown in the nudge clock + + + - - Edit cursor to end - - - adjusts the end of the region to the current position of the edit cursor - (if possible) - - - + + Nudge fwd by capture offset + + + moves the region forward by the same offset that it might have + been (incorrectly) adjusted by when captured + + + - - Split - - - if the edit cursor is within the region, splits the region at the editor - cursor location - - - + + Nudge bwd by capture offset + + + moves the region backwards by the same offset that it might have + been (incorrectly) adjusted by when captured + + + - - Make mono regions - - - if the region is a multi-channel one, creates new regions corresponding - to each channel. The new regions are added to the editor's region list, - not the track. - - - + + Trim + + + + - - Duplicate - - - pops up a dialog allowing the region to be copied 1 or more times. Each - copy is placed directly after the original or previous copy. - - - + + Start to edit cursor + + + adjusts the start of the region to the current position of the + edit cursor (if possible) + + + - - Fill Track - - - copies the region as many times as necessary to fill the track to the - current session end mark. Each copy is placed directly after the - original or previous copy. - - - + + Edit cursor to end + + + adjusts the end of the region to the current position of the + edit cursor (if possible) + + + - - Remove - - - remove the region from the track (non-destructive) - - - + + Split + + + if the edit cursor is within the region, splits the region at + the editor cursor location + + + - - Destroy - - - remove the region from the track and the editor region list, and if no - other regions are referencing it, remove the audio file that the region - is derived from. ( DESTRUCTIVE ) - - - - -
+ + Make mono regions + + + if the region is a multi-channel one, creates new regions + corresponding to each channel. The new regions are added to the + editor's region list, not the track. + + + + + + Duplicate + + + pops up a dialog allowing the region to be copied 1 or more + times. Each copy is placed directly after the original or + previous copy. + + + + + + Fill Track + + + copies the region as many times as necessary to fill the track + to the current session end mark. Each copy is placed directly + after the original or previous copy. + + + + + + Remove + + + remove the region from the track (non-destructive) + + + + + + Destroy + + + remove the region from the track and the editor region list, and + if no other regions are referencing it, remove the audio file + that the region is derived from. ( + DESTRUCTIVE ) + + + + +