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diff --git a/manual/xml/setting_up_to_record.xml b/manual/xml/setting_up_to_record.xml deleted file mode 100644 index dca9b07bfe..0000000000 --- a/manual/xml/setting_up_to_record.xml +++ /dev/null @@ -1,302 +0,0 @@ -<?xml version="1.0" standalone="no"?> - -<!DOCTYPE section PUBLIC "-//OASIS//DTD DocBook XML V4.4//EN" "http://www.oasis-open.org/docbook/xml/4.4/docbookx.dtd" [ - -]> - -<section id="sn-setting-up-to-record"> - <title>Setting Up To Record</title> - <para> - This page needs massive work - </para> - - <para> - 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. - </para> - - <section id="setup-connections"> - <title>Connections</title> - <para></para> - </section> - - <section id="setup-levels"> - <title>Levels</title> - <para></para> - </section> - - <section id="setup-clipping"> - <title>Clipping</title> - <para></para> - </section> - - <section id="record-enabling-tracks"> - <title>Record Enabling Tracks</title> - <para></para> - </section> - - <section id="setup-monitoring"> - <title>Monitoring</title> - <para> - While monitoring is a broad term, here we use it to refer to the - signal a track delivers to its channel for further processing. - There are two available monitoring states. - These are - 'input' (the signal being delivered to a track for potential recording), and - 'off-disk' (material you have already recorded, or silence in the absence of a region). - </para> - </section> - - <section id="setup-hardware-monitoring"> - <title>Hardware Monitoring</title> - <para> - Some multichannel audio interfaces have the ability to route an input signal - directly to an output with very low or no latency. This is useful if your computer hardware - is connected to the tape sends and returns of a mixing console. - Whenever monitoring is set to input on a track, the track's input port is connected to its - output in hardware (as would happen on a multitrack tape recorder). - Hardware monitoring provides the best quality assurance for an engineer, as the signal path - is exactly the same for input and off-disk monitoring. - Level differences can be heard immediately, as can other gremlins that may ruin your recording. - The hardware monitoring setting is only useful for interfaces supporting this feature. - </para> - </section> - - <section id="setup-software-monitoring"> - <title>Software Monitoring</title> - <para> - Software monitoring uses software to perform input monitoring. - When set to monitor input, a tracks input signal is passed to its channel - as if it were coming from disk, allowing plugins to be heard while recording. - This introduces an inevitable processing delay, or latency, to the input signal. - The size of the delay depends on the current JACK configuration, which should - be set to as short as possible while recording. - </para> - </section> - - <section id="setup-latency"> - <title>Latency</title> - <para></para> - </section> - - <section id="setup-external-monitoring"> - <title>External Monitoring</title> - <para> - External Monitoring will silence the output of a track whenever the track is set - to monitor input. It is useful if you are listening to the input signal - using a path outside your computer (eg a mixing console). - </para> - </section> - - <section id="tape-machine-mode"> - <title>Tape Machine Mode</title> - <para> - Nearly all traditional tape recorders use the same monitoring model. - Normally only tracks that are record-enabled will monitor input with the - transport stopped. - Tape machine mode emulates this behaviour. - Some simpler machines (like a famous product by Alesis) switch all tracks to - input on stop when auto-input is enabled, regardless of record-enable state. - Disabling Tape Machine Mode switches to a behaviour that mimics this type of recorder. - Be warned that if you disable Tape Machine Mode, many tracks sharing the same input - (in software monitoring mode) will sum that input through the master buss - (potentially including several plugins) whenever the transport is stopped. - Since setting up a sound usually involves listening to the input with the transport - stopped, you might not be hearing the sound you are about to record! - Disabling this mode can also lead to surprising acoustic feedback. - Tape Machine Mode is off by default. - </para> - </section> - - <section id="setup-auto-input"> - <title>Auto-Input</title> - <para> - When a track is record-enabled, it is set to monitor input - regardless of the transport state. Auto input switches to off-disk monitoring - when play is engaged. When Ardour is actually recording, the track will be set to - monitor input again. - Auto-Input is useful for performing punch-ins. Disable auto-input when performing - 'dry runs' of an overdub to allow a performer to hear themselves while the transport is rolling. - </para> - </section> - - <section id="setup-track-naming"> - <title>Track Naming</title> - <para></para> - </section> - - <section id="setup-default-names"> - <title>Default names</title> - <para></para> - </section> - - <section id="disk-allocation"> - <title> Disk Allocation </title> - <para> - It is of course possible to use Ardour on a single-disk system, but - you are more likely to have performance problems this way. - </para> - - <para> - If you have more than one disk available, we highly recommend using - one "system" disk and one or more "audio" disks. - </para> - - <section id="using-the-system-disk"> - <title>Using the system disk </title> - <para> - The "system" disk is the main disk on which your operating system - and (usually) all your installed software reside. - </para> - - <para> - If you have any other disks available, it is usually - <emphasis>not</emphasis> 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) - </para> - - <para> - 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. - </para> - </section> - - <section id="using-multiple-disks"> - <title> Using Multiple Disks </title> - <section id="hardware-raid"> - <title>Hardware RAID</title> - <para> - You can of course use a normal RAID disk array to spread data - across multiple disks. This is beyond the scope of this manual. - </para> - </section> - - <section id="soft-raid-path"> - <title>Ardour's "Soft" RAID Path</title> - <para> - 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. - </para> - - <para> - There is no reason to do this if your computer has only one disk. - </para> - - <para> - 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?) - </para> - - <para> - You can squeeze some more disk performance out of an existing - session by following the above procedure, then manually moving - some files from the - <code>sounds/</code> - subdirectory of the existing session into a - <code>sounds/</code> - 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. - </para> - - <note> - <para> - 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. - </para> - </note> - </section> - </section> - </section> - - <section id="recording-modes"> - <title> Recording modes </title> - <section id="destructive-recording"> - <title> destructive recording </title> - <para> - 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. - </para> - </section> - </section> - - <section id="setup-loop-recording"> - <title>loop recording</title> - <para></para> - </section> - - <section id="setup-punch-recording"> - <title>Punch Recording</title> - <para> - Once you have recorded material onto a track, the simplest way to punch in - (or drop in as it is known elsewhere) is to roll the transport and press the - master record button at the desired in point. Assuming the desired track is - record enabled, its monitoring state will be switched and recording will begin. - Pressing it again disengages record. - If repeatable punch-ins are required, you may use auto punch. - </para> - </section> - - <section id="setup-auto-punch"> - <title>Auto Punch</title> - <para></para> - </section> - - <section id="recording-with-a-click-track"> - <title>Recording with a Click track</title> - <para></para> - </section> - - <section id="the-click-track"> - <title>The Click Track</title> - <para> - Enabling the click Routing the click Specifying click sounds Default - Meter Default Tempo - </para> - </section> - - <section id="tempo"> - <title>Tempo</title> - <para> - manual tempo tap tempo - </para> - </section> -<!-- - <xi:include xmlns:xi="http://www.w3.org/2001/XInclude" - href="Some_Subsection.xml" /> - --> -</section> |