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- Committer: Package Import Robot
- Author(s): Fabrice Coutadeur, Fabrice Coutadeur, Alessio Treglia
- Date: 2012-08-04 07:05:22 UTC
- mfrom: (1.1.11)
- Revision ID: package-import@ubuntu.com-20120804070522-yf76neafek15rjv6
Tags: 2.0.1-1
[ Fabrice Coutadeur ]
* New stable bug fixing release.
* debian/compat: set compat to 9 to automatically get hardening flags
[ Alessio Treglia ]
* Add Fabrice Coutadeur to the Uploaders field.
* Refresh 1001-buildsystem.patch.
* New stable bug fixing release.
* debian/compat: set compat to 9 to automatically get hardening flags
[ Alessio Treglia ]
* Add Fabrice Coutadeur to the Uploaders field.
* Refresh 1001-buildsystem.patch.
- files added:
- CMakeLists.txt.user
- files removed:
- muse/ladspa.h
- files modified:
- .pc/1001-buildsystem.patch/CMakeLists.txt
added
removed
doc/documentation.tex
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\usepackage{wrapfig}
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\usepackage{fancyhdr}
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\pagestyle{fancy}
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\lhead{\scriptsize{\slshape\leftmark}}
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\chead{}
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\rhead{\thepage}
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\lfoot{}
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\cfoot{}
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\rfoot{}
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\renewcommand{\headrulewidth}{0.4pt}
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\lhead{\scriptsize{\slshape\leftmark}}
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\chead{}
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\rhead{\thepage}
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\lfoot{}
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\cfoot{}
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\rfoot{}
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\renewcommand{\headrulewidth}{0.4pt}
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\usepackage{ifthen}
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%% Borrowed from Lyx output. "Because html converters don't know
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%% tabularnewline". Is required? Maybe replace with \\ ?
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\providecommand{\tabularnewline}{\\}
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% Hyphenate symbols before each uppercase letter, after each underscore
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% (without a "-") and after each ':' (without a "-")
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% TODO for any latex crack: also do automatic hyphenation, that is,
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\author{Florian Jung, Robert Jonsson}
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\author{Florian Jung, Robert Jonsson, Tim Donnelly}
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\title{MusE Documentation}
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\newcommand{\url}[1]{\texttt{#1}}
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\begin{document}
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\label{Main/Arranger}
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\begin{figure}[htp]
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\centering
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\includegraphics[width=1.0\textwidth]{pics/muse2}
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\centering \includegraphics[width=1.0\textwidth]{pics/muse2}
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\label{fig:MusE}
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\end{figure}
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\chapter {What is this?}
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\chapter{What is this?}
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You are, if you have printed this document, holding in your hand the
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written documentation for the audio and midi sequencer MusE version 2.\\
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\url{http://www.muse-sequencer.org} is MusE's home on the internet where
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all about.
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\chapter{User's manual}
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\section {Introduction}
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\subsection {A brief history of computer audio and MusE}
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\section{Introduction}
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\subsection{A brief history of computer audio and MusE}
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To quickly summarize over a decades open source development: in 1999 Werner
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Schweer released the first version of MusE, muse-0.0.1.tar.gz, in it's first
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few releases (actually not few, Werner relentlessly churned out new releases)
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strives to encompass most of the music recording process, creation, editing,
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mastering.
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\subsection {Definitions}
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\subsection{Definitions}
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\key{CTRL} refers to the control key on the keyboard, e.g. \key{CTRL+C}
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means to press and hold the control key while pressing the c key. Make sure
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you know where you have it so you won't accidentally lose control
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E.g.\\
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\hspace*{1cm}\shell{\$> muse2}\\
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\subsection {Getting up and running for impatient people}
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\subsection{Getting up and running for impatient people}
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Install MusE from the repository of your chosen distribution.
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To get decent performance start Jack with the following command in a
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terminal:\\
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\hspace*{1cm}\shell{\$> jackd -d alsa -d hw:0 -p 256}\\
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Or, if you prefer, use the launcher utility \textbf{QJackCtl} to get some
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help starting Jack.
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After this, start MusE from the menu or fire up another terminal and type
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After this, start MusE from the menu or fire up another terminal and
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type
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\shell{muse2}.\\
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If this didn't work out read on for the slighly more complete route for
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If this didn't work out read on for the slightly more complete route for
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getting things started.
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\subsection {Getting up and running}
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\subsubsection {Installation from binaries}
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\subsection{Getting up and running}
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\subsubsection{Installation from binaries}
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There are several ways to install MusE depending on your situation. The
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most convenient way is to install a prepackaged version from your chosen
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distribution. The drawback of this is that it may not be the most recent
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version, though often there is a more recent package from a private packager.
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\subsubsection {Installation from source}
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\subsubsection{Installation from source}
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Building MusE from source is not hard, there are a number of prerequistes
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that must be met but the actual building should be painless (ha, famous
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last words).\\
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Please follow the README in the source package and/or read the instructions
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on the homepage: \url{http://muse-sequencer.org/index.php/Installation}
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\subsubsection {Hardware}
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\subsubsection{Hardware}
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MusE on the Linux platform supports midi through ALSA and Jack-midi and audio
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through Jack. For information on what hardware is supported there are some
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convenient places to check:
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\begin {itemize}
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\item Alsa soundcard matrix
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\item \url{http://FFADO.org} for firewire devices.
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\end {itemize}
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\begin{itemize}
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\item Alsa soundcard matrix at
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\url{http://www.alsa-project.org/main/index.php/Matrix:Main}
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\item \url{http://FFADO.org} for firewire devices.
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\end{itemize}
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Also, as is often a very good approach for Linux and open source, the
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various forums available on the internet often contain good information.
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Chances are someone has already tried your configuration and/or had your
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specific problem and the solution is already written down.
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\subsubsection {Launching}
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\subsubsection{Launching}
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After installation the binary muse2 is installed on the computer. If MusE
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was installed from a distribution repository the binary may have a
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different name depending on the distribution policies. Most distributions
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do however install a menu entry so MusE should be conveniently available
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from there.
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\subsubsection {Audio preconditions}
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\subsubsection{Audio preconditions}
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In the standard case MusE expects to find and connect to the Jack audio
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server \url{http://jackaudio.org}. Make sure jack is installed (if MusE was
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installed with a distribution-package Jack will very likely already be
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sufficiently tuned to allow it to run with realtime capabilities. The
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realtime configuration is configuration of the operating system and roughly
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consists of two parts.
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\begin {enumerate}
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\begin{enumerate}
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\item By default on most distros only the superuser lets applications setup
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realtime capabilities. Please see the APPENDIX for setting up realtime
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realtime capabilities. Please see the APPENDIX for setting up realtime
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\item Maximizing performance. A standard linux installation may not able
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to reach the performance required by a power user. This requires exchanging
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the linux kernel for a so called lowlatency kernel, this is also covered by
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the realtime APPENDIX.
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\end {enumerate}
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\subsubsection {Running MusE}
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Find MusE in the menu or open a terminal and enter muse2. A splash screen
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should pop up followed by the main application window and you are off!
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\shell{\$> muse2}\\
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\end{enumerate}
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\subsubsection{Running MusE}
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Find MusE in the menu or open a terminal and enter muse2.
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\shell{\$> muse2}\\A splash screen should pop up followed
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by the main application window and you are off!\\
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If an error like the screenshot below pops up the Jack audio server is
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either not running or started as a different user than what you are trying
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to start MusE as.
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\begin{figure}[htp]
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\centering
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\includegraphics[width=\screenshotwidth]{pics/no_audio}
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\centering \includegraphics[width=\screenshotwidth]{pics/no_audio}
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\caption{Jack server missing}
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\label{fig:no_audio}
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\label{fig:no_audio}
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\end{figure}
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\subsubsection {Midi only}
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\subsubsection{Midi only}
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MusE can be started in Midi-only mode where MusE does not have any external
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dependencies apart from ALSA midi. In this case start MusE from a terminal:
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\shell{\$> muse2 -a}
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\subsection {Beginners tutorial}
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\subsubsection{ALSA midi with Jack}
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If Jack is running, by default MusE will not use ALSA devices, preferring
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Jack midi instead. To force ALSA devices to be used as well as Jack
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midi, start MusE with the -A option: \shell{\$> muse2 -A}
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\subsection{Beginners tutorial}
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To get a quick grip of what MusE can achieve please follow this beginners
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tutorial.
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\subsubsection {Setup}
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\subsubsection{Setup}
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First off, fire up MusE as was described in the previous chapter, making
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sure that the jack audio server is started with sufficient configuration
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to allow for audio output without breakup. Also make sure your system can
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make sound.
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\subsubsection {Soft synth test}
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make sound.
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\subsubsection{Soft synth test}
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With MusE up and running right click in the Track-pane (see screenshot in
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~\ref{Main/Arranger}) and select \menu{Add Synth > MESS > Organ}. A Soft
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Synth track called Organ-0 should appear as well as a separate GUI for
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the synthesizer.
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~\ref{Main/Arranger}) and select \menu{Add Synth > MESS > vam soft synth}.
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A Soft Synth track called vam-0 should appear as well as a separate GUI
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for the synthesizer.
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Now right click once more in the Track-pane and select \menu{Add Midi
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Track}. Another track appears called Track-1, you will notice that it is
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by default bound to the synth that was just created Organ-0.
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Track}. Another track appears called Track 1, and its track list Port
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column should show it is bound to the synth that was just created vam-0.
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If it is not, click on the Track 1 Port column to open a drop-down list
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of available devices and choose vam-0.
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\begin{wrapfigure}{r}{0.05\textwidth}
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\includegraphics[width=0.05\textwidth]{pics/arrow_tool}
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%\hrulefill
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not important where or how large the drawn Part is. When you are done double
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click on the drawn part. This will open up the Piano Roll editor. To the
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left of the Piano Roll there are piano keys in a vertical line, try clicking
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on the keys in this virtual keyboard each click should be rewarded with an
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organ sound (maybe of questionable quality, a sound nevertheless)
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on the keys in this virtual keyboard each click should be rewarded with a
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synth sound (maybe of questionable quality, a sound nevertheless)
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\begin{figure}[htp]
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\centering
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\includegraphics[width=.5\textwidth]{pics/organ_synth}
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\caption{Organ synthesizer}
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\label{fig:organ_synth}
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\centering \includegraphics[width=.5\textwidth]{pics/vam_synth}
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\caption{vam synthesizer}
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\label{fig:vam_synth}
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\end{figure}
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\subsubsection {Missing sound}
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\subsubsection{Missing sound}
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If you got sound from the previous exercise you can carry on to the next,
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or keep reading for further enlightenment in case you come upon trouble
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later on. If there are no sound we need to do some fault hunting. First
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of, click on Arranger window once more and select the Organ-0 track in the
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later on. If there is no sound we need to do some fault hunting. First
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off, click on Arranger window once more and select the vam-0 track in the
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track-pane.
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\begin{figure}[ht]
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\centering
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\includegraphics[width=\screenshotwidth]{pics/main_window_with_midi_editor}
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\begin{figure}[htp]
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\centering \includegraphics[width=\screenshotwidth]
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{pics/main_window_with_midi_editor_vam}
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\caption{Midi editor view}
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\label{fig:Midi editor}
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\end{figure}
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Strip should light up in green to visualize that the Synth is making
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sound, if it is not try to trace back your steps and and see if you did
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anything differently than described.
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Now, if the Meter lights up but there is still no sound we need to to
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Now, if the Meter lights up but there is still no sound we need to
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check the routing between the tracks. Click on the Arranger window again
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and select the Out 1 track, this is the predefined output which MusE by
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default loads at startup, at the bottom of Mixer Strip there are two
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of the track, click on the right one, the output and make sure that it is
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connected to some valid outputs on your system.
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\begin{wrapfigure}{r}{0.25\textwidth}
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\includegraphics[width=0.25\textwidth]{pics/output_routing}
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\includegraphics[width=0.25\textwidth]{pics/output_routing}
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%\hrulefill
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\end{wrapfigure}
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Click on the outputs to select them, if you did changes here go back and
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try clicking on the Piano Roll keyboard again, hopefully it helped. If there
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still are problems make sure your system actually can make sound through
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still are problems make sure your system actually can make sound through
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Jack, this is however getting outside the scope of this manual.\\\\
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\textit{This might be the time to bring up the concept of community support.
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Open source software could never be what it is without the support given by
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one of the online forums for MusE or Linux audio in general. See some pointers
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in the Support chapter.}
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\subsubsection {Recording} %TODO: walkthrough of recording midi
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\subsubsection{Recording} %TODO: walkthrough of recording midi
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TBD
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\section {Basic overview}
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\section{Basic overview}
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In this section we will make a step by step walk-through of all the
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different editors, their purpose and what functions they support.
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\subsection{Main/Arranger}
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\label{Main/Arranger}
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\label{Main/Arranger}
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\begin{figure}[htp]
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\centering
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\includegraphics[width=\screenshotwidth]{pics/main_window_annotated}
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\centering \includegraphics[width=\screenshotwidth]
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{pics/main_window_annotated}
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\caption{MusE main window}
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\label{fig:Main Window}
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\label{fig:Main Window}
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\end{figure}
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Above is the main window of MusE, the Arranger, this is what greets you
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when launching MusE. The Arranger consists of two main parts, the Track-pane
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screenshot above shows an empty project. Below is MusE with a song in
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progress, turns out it wasn't a very good song, but for our purposes it
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is fine. In the below screenshot there are a lot of tracks visible in the
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Track-pane, each have an icon which indicate it's type, wave-trace, input,
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Track-pane, each have an icon which indicate it's type, wave-track, input,
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output etcetera, more about that later. In the Arranger canvas a number of
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parts are visible, the ones in yellow are in this composition wave files,
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the multicolored line are different Parts of a drum track.
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\label{Main/Arranger}
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\label{Main/Arranger}
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\begin{figure}[htp]
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\centering
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\includegraphics[width=\screenshotwidth]{pics/main_window_with_arrangement}
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\centering \includegraphics[width=\screenshotwidth]
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{pics/main_window_with_arrangement}
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\caption{MusE main window with arrangement}
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\label{fig:Main Window with arrangement}
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\label{fig:Main Window with arrangement}
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\end{figure}
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\subsection{Mixer}
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\subsection{Mixer} \label{mixer}
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Choosing \menu{View > Mixer A} or \menu{B} from the menu in the main
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window will bring up the mixer as viewed below. The mixer will with all
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options enabled show channel strips for all tracks in the current setup,
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depending on how far you have gotten this view may become very large,
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at which point it may be a good idea to limit what is viewed in the
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Mixer. From the view menu all the different kinds of tracks can be
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toggled on/off from the mixer. Some may find it a good idea to use the
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two mixers A and B setup with different setup and store this in your
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song template(s), more about this in the Song Template section. It can
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be argued that everything in MusE is a track analogous to the Unix
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idiom that everything is a file.
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The types of tracks viable in the mixer (and track-pane) are:
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window will bring up the mixer as viewed below. The mixer will open with
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all options enabled, showing channel strips for all tracks in the current
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setup, depending on how far you have gotten this view may become very large,
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at which point it may be a good idea to limit what is viewed in the Mixer.
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From the view menu all the different kinds of tracks can be toggled on/off
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from the mixer. Some may find it a good idea to use the two mixers A and B
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setup with different setup and store this in your song template(s), more
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about this in the Song Template section. It can be argued that everything
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in MusE is a track analogous to the Unix idiom that everything is a file.
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The types of tracks visible in the mixer (and track-pane) are:
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\begin{wrapfigure}{r}{0.5\textwidth}
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\includegraphics[width=0.5\textwidth]{pics/mixer}
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\includegraphics[width=0.5\textwidth]{pics/mixer}
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%\hrulefill
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\end{wrapfigure}
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\begin {itemize}
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\item Audio output
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\item Audio input
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\item Group track
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\item Aux track
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\item Wave track
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\item Synth track
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\item Midi track
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\begin{itemize}
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\item Audio output
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\item Audio input
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\item Group track
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\item Aux track
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\item Wave track
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\item Synth track
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\item Midi track
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\end{itemize}
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There are also a Midi Track variation called Drum Track, they are
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however not distinguishable from Midi Tracks in the Mixer. Also the
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strips for midi tracks are different in the Mixer than in the
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There is also a Midi Track variation called Drum Track, they are
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however not distinguishable from Midi Tracks in the Mixer. Also the
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strips for midi tracks are different in the Mixer than in the
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Track-pane view.
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\subsection{Tracks}
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\section{Tracks and parts}
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MusE arranges your music in \emph{tracks} and \emph{parts}. The following
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section shall provice you an overview of how things are done with MusE.
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section shall provide you an overview of how things are done with MusE.
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If you are or were a Cubase or Cakewalk user, you will feel familiar with
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this. There are
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MIDI and drum tracks (which are internally MIDI tracks) which can hold
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note data, wave tracks which hold wave data, and several kinds of
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audio tracks, synthesizers etc.
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this.
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\subsection{Tracks}
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There are two general classes of tracks: MIDI tracks and audio
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tracks. MIDI tracks (and drum tracks which are internally MIDI tracks)
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can hold note data. The Wave track is a type of audio track which holds
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wave data. There are also several other kinds of audio tracks.
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\paragraph{MIDI tracks}
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MIDI and drum tracks hold MIDI event data. They don't differ much,
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They hold audio data which can be just played back or be piped through
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effect plugin chains. They offer automation for these plugins.
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\paragraph{Audio inputs}
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\paragraph{Audio input tracks}
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These provide the path for your audio data from outside into your
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project. Set up the physical audio inputs you want to connect your audio
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in track with, and then route them to some wave tracks.
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% TODO: what are audio outs and auxs?
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% someone please write this!
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\subsection{Parts}
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Tracks are split in parts. These contain MIDI events or wave chunks.
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You can copy, clone them, move them around, delete them etc.
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\subsection{MIDI ports}
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Ports provide an abstraction layer for your MIDI synthesizers (which
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can be both software and hardware synthesizers). Port are numbered.
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In order to produce sound, each MIDI track is assigned to exactly one
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MIDI port, to which the MIDI events are then sent.
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In the configuration menu, you must map the port numbers to the actual
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synth devices (by selecting ALSA or jack midi ports, or synth plugins).
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Try left-clicking on the "Ports" column of some MIDI track. If you
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use a soft synth, right-clicking the Ports column of the synth or any
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track using the synth lets you launch the synthe's GUI.
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\section{Tracks and parts}
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\subsection{Tracks}
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project. Set up the physical audio inputs you want to connect your
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audio input track with, and then route the input tracks to various
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other tracks such as wave tracks.
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\paragraph{Audio output tracks}
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These provide the path for your project's audio data to outside. Set
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up the physical audio outputs you want to connect your audio out track
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with, and then route various other tracks, such as wave tracks, to
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the output tracks.
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\paragraph{Audio group tracks}
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Group tracks are like busses, where you can route other tracks to
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them, then route the groups to other tracks. Since group tracks have
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all the features of other audio tracks, like volume and pan, they
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provide a convenient common routing point where you have control of
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the sound before it is passed to other tracks.
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\paragraph{Audio aux tracks} \label{aux_tracks}
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These provide a more convenient way to mix several audio tracks
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together. With each audio aux track added, other audio tracks will
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gain a common send knob for adjusting the level sent to the aux
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track. This can be more convenient than using several group tracks.
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\paragraph{Synthesizer tracks}
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This type of track is a software synthesizer which MIDI and drum tracks
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can be assigned to.
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\paragraph{Creation}
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You can create a track by either right-clicking in the arranger's track % TODO: insert screenshot
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list and then adding the desired track, or via the edit menu.
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\paragraph{Attributes} % TODO: this should be a list
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Tracks have several attributes.
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\subparagraph{Mute} If you click on the \emph{Mute} field (denoted with
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\paragraph{Attributes}
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Tracks have several attributes:
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\begin{description}
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\item [{Mute:}] If you click on the \emph{Mute} field (denoted with
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a "M" column header), the track gets muted and stops producing sound.
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\subparagraph{Solo} The solo button ("S" column header) mutes all other % TODO: soloing chains etc?
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tracks.
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\subparagraph{Record} The R column "arms" your track for recording.
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\item [{Solo:}] \label{track_attr_solo} The solo button ("S" column
478
header) singles out a track for listening. It mutes
479
some other tracks but may phantom solo others.
480
For more info see the section on soloing: \ref{track_soloing} and
481
phantom soloing: \ref{phantom_soloing}
482
\item [{Record:}] The R column "arms" your track for recording.
464
483
When you rec-arm your song and have no tracks rec-armed, you won't be
465
484
able to record anything. See also the config option "move rec-arm with % TODO: reference to rec-arm config option
466
selection".
467
\subparagraph{Track name} Double-click and you will see.
468
\subparagraph{Port} For MIDI tracks, this lets you select the MIDI
485
selection".
486
\item [{Track name:}] Double-click to edit the track name.
487
\item [{Port:}] For MIDI tracks, this lets you select the MIDI
469
488
port to which the events should be routed. This can be your physical
470
synthesizer or a software synthesizer. For soft synthes, this is the
489
synthesizer or a software synthesizer. For soft synths, this is the
471
490
port the synth is associated to. For other track types, this is disabled.
472
\subparagraph{Channel} For MIDI tracks, this is the MIDI channel the
491
\item [{Channel:}] For MIDI tracks, this is the MIDI channel the
473
492
output is sent to. For any kind of audio tracks, this is the number of
474
493
channels (mono, stereo).
475
494
% TODO: what's that "T" column?!
476
\subparagraph{Automation} For audio tracks, this lets you set up the
477
automation display in the arranger. Clicking this will provide you with
478
a popup menu with lots of submenus. The submenus let you select the
479
color you want to associate with the automation parameter. \emph{Clicking % TODO: this is nonstandard
480
on a submenu} will select or unselect it, making the automation parameter % TODO: put reference to automation section
481
shown or hidden.
495
\item [{Automation:}] \label{track_attr_automation} For audio tracks,
496
this lets you set up the automation display in the arranger.
497
(See automation \ref{audio_automation}). Clicking this will provide you
498
with a popup menu with lots of submenus. Clicking on a submenu will
499
select or unselect it showing or hiding the automation parameter as a
500
graph overlaid on top of the track.\\
501
The submenus let you select the color you want to associate with the
502
automation parameter. There you can also assign midi controllers to
503
the parameters, a dialog is shown where you can manually choose the
504
midi controller, with a \emph{learn} button to 'listen for' and
505
automatically recognize any midi controller operated by you.
482
506
483
\subparagraph{Clef} For MIDI tracks, you can specify a clef here. This
507
\item [{Clef:}] For MIDI tracks, you can specify a clef here. This
484
508
only affects the score editor.
485
509
486
\paragraph{The trackinfo side bar}
510
\end{description}
511
512
\subsubsection{The trackinfo side bar}
487
513
In the arranger and the part editors, you'll have a trackinfo sidebar
488
514
on the left side. You can set up track-type specific things there.
489
515
490
\subsubsection{MIDI tracks}
491
MIDI parts have no automation settings. However, they support various % TODO: this will hopefully become wrong soon
492
controllers, program changes etc.. The MIDI trackinfo sidebar lets you
493
change program, volume, pan and more. Just editing the value in the
494
boxes will send an event, but not write it to the track. In order to
495
write it, you will need to click on the corresponding button ("Vol" for
496
writing down volume information).
497
498
\subsubsection{Drum tracks}
516
\paragraph{MIDI trackinfo sidebar} \label{midi_trackinfo_sidebar}
517
The MIDI trackinfo sidebar lets you change program, volume, pan and
518
more. This sidebar can also be viewed at the left of the pianoroll
519
editor. %%FIXME Ref to pianoroll
520
\subparagraph{Drum tracks:}
499
521
These are MIDI tracks as well, but with a few differences. They allow
500
522
you to map certain drum sounds with different input notes, and you
501
523
can change the output settings of a certain "drum instrument" without
508
530
for the used channel and more. These limitations will be addressed in
509
531
MusE 2.1, which offers a new concept of drum tracks.
510
532
511
\subsubsection{Audio tracks}
512
\paragraph{Effect rack}
513
On the top of the sidebar, there is an effect rack which allows you to
514
apply various plugins on the audio. For more information on this, refer
515
to \ref{plugins}.
516
517
\paragraph{Controls}
518
Lorem ipsum % TODO FINDMICH HIER WEITER
533
\subparagraph{MIDI trackinfo controls:}
534
\begin{description}
535
\item [{Output port:}] This drop-down list selects the midi port
536
to send midi output from this track.
537
\item [{Output channel:}] This box selects the midi channel to be
538
used on the output port.
539
\item [{Input and output routing:}] Selects midi ports and
540
channels to receive midi from, and soloing paths. (See Routes
541
\ref{routes}).
542
\item [{Midi through:}] This button selects whether midi input is
543
passed through to the selected output port.\\
544
Depending on your midi devices and settings, there are cases when
545
this should be off such as using the same port and channel for
546
input and output (otherwise a double-note \emph{echo} will be heard),
547
and cases when it must be on such as when using a synthesizer track
548
as output device.
549
\item [{Input detect indicator:}] Blinks when midi activity is
550
detected on the selected midi channels on the selected midi input
551
ports.
552
\item [{Transpose:}] This transposes midi input notes up or down
553
in pitch. This is very useful if your midi keyboard hasn't enough
554
keys or the selected output device plays an octave too low or high,
555
and you would like to shift the octave of the incoming notes to
556
compensate.
557
\item [{Delay:}] Adjusts the delay of the notes. %% FIXME What is this again? Does it work?
558
\item [{Length:}] Adjusts the length of the notes. %% FIXME What is this again? Does it work?
559
\item [{Velocity:}] Adjusts the velocity of incoming notes.
560
Use it to compensate for a too-loud or too-soft keyboard.
561
\item [{Compression:}] Adjusts the compression of incoming note
562
velocities. Use it to make soft incoming notes louder, and loud
563
notes not so loud.
564
\item [{Instrument:}] Selects the midi instrument patch to be used
565
by the selected output port. This is equivalent of dialing the patch
566
in the bank and program boxes, except it displays a more friendly
567
patch \emph{name} as defined by the selected output port's midi
568
instrument. See instruments, or port configuration %% FIXME Ref to instruments.
569
\ref{midi_port_config}
570
\item [{H-Bank:}] Selects the high bank number of the current patch.
571
\item [{L-Bank:}] Selects the low bank number of the current patch.
572
\item [{Prog:}] Selects the program number of the current patch.
573
\item [{Volume:}] Adjusts the midi volume controller.
574
\item [{Pan:}] Adjusts the midi pan controller.
575
\end{description}
576
The buttons beside the Prog, Volume, and Pan boxes store the value,
577
at the current transport position, for midi automation. (See
578
automation \ref{midi_automation}).
579
580
Note that the 'Prog' button stores H-Bank and L-Bank along with
581
'Prog' value, so there are no H-Bank and L-Bank buttons.
582
583
The 'All' button simply stores all three Program (and banks), Volume,
584
and Pan values at once.
585
586
\emph{Tip:} If the Song Type is GM, GS, or XG, you may need to store %% FIXME Ref to song type
587
desired values at transport position zero, otherwise your adjustments
588
may be overriden by the instrument when the transport is moved back
589
to position zero. If this behaviour is undesired, you can set the
590
Song Type to 'NO' meaning no song type. %% FIXME Ref to explanation of instruments and default controller values
591
592
\paragraph{Audio trackinfo sidebar}
593
Unlike the midi trackinfo sidebar, the audio trackinfo side bar
594
is nothing more than an embedded audio mixer strip, the exact same
595
strip as found in the mixers. (See mixer \ref{mixer}).
596
\subparagraph{Effects rack:}
597
On the top of the audio trackinfo sidebar, there is an effects rack
598
which allows you to apply various plugins on the audio. For more
599
information on this, refer to \ref{effects_rack}.
519
600
520
601
521
602
\subsection{Parts}
537
618
while holding down the \key{CTRL} key.
538
619
539
620
540
541
\section{Plugins and automation} \label{plugins}
542
There are several kinds of plugins. First, there are audio plugins, which
543
can be applied to any track handling audio (that is, inputs, outputs,
544
wave tracks, synth tracks). Plugins can be added by double-clicking
545
on an entry in the effect rack in the track info pane (which is shown
546
at the left side of the arranger when the according track is selected).
547
Right-clicking them offers a self-explanatory popup menu.
621
\section{Routes} \label{routes}
622
Routes are how tracks are connected together and to the outside world.
623
(They are also how Jack midi ports connect to the outside world. See
624
midi port configuration \ref{midi_port_config}).
625
Each track strip has two buttons whose icons look like plugs. One button
626
is for input routing and the other is for output routing. Clicking on
627
these buttons will pop up a menu of available input or output routes that
628
you can connect to. Most audio tracks list other tracks to connect to,
629
but audio input and output tracks are special: Audio input track input
630
routing menus list available Jack audio input ports. Conversely audio
631
output track output routing menus list available Jack audio output ports.
632
633
\begin{wrapfigure}{r}{0.25\textwidth}
634
\includegraphics[width=0.25\textwidth]{pics/output_routing}
635
%\hrulefill
636
\end{wrapfigure}
637
638
Meanwhile MIDI and drum tracks allow you to route available MIDI ports
639
and channels to the track using a handy popup matrix.
640
641
\begin{wrapfigure}{r}{0.25\textwidth}
642
\includegraphics[width=0.25\textwidth]{pics/midi_routing_matrix}
643
%\hrulefill
644
\end{wrapfigure}
645
646
647
\subsection{Anti circular routing} \label{anti_circular_routing}
648
Any routing menu item which would cause a circular routing condition
649
is grayed out. Find out why the condition would exist by examining
650
routing paths involved and correct the situation if required.
651
652
Also, you cannot use a track's aux sends if the track has an input
653
route path from ANY Aux Track. (See aux tracks \ref{aux_tracks}).
654
Aux send knobs and labels are disabled in that case.
655
656
\subsection{Soloing chain routes} \label{soloing_chain_routes}
657
Soloing chains (see solo chains \ref{soloing_chains}) are really just
658
routes like any other. The available solo chaining paths are displayed
659
in the routing popup menus.
660
661
\section{Track soloing} \label{track_soloing}
662
Soloing allows you to single out a track for listening while muting others,
663
without you having to mute the other tracks. (See soloing track attribute
664
\ref{track_attr_solo}).
665
666
\subsection{Phantom soloing} \label{phantom_soloing}
667
In order to solo a track and mute others so that it is heard, MusE
668
employs 'phantom' soloing: When a track is soloed, MusE automatically
669
solos all tracks routed to and from this track. (See routes
670
\ref{routes}). A phantom soloed track is indicated by a black square
671
in the track pane solo column. (See track attributes
672
\ref{track_attr_solo}).
673
674
675
\begin{figure}[htp]
676
\centering \includegraphics[width=\screenshotwidth]{pics/soloing_window}
677
\caption{Soloing, with phantom soloing}
678
\label{fig:Soloing}
679
\end{figure}
680
681
\subsection{Soloing chains} \label{soloing_chains}
682
When an audio output track sends audio to some external entity, such
683
as an external running application, and audio from the external entity
684
is fed back into a MusE audio input track, solo chains allow you to
685
solo the input or output, and MusE will complete the path automatically
686
soloing the other, and all paths that came before or after it.
687
688
Solo chains also work with MIDI tracks chained to audio inputs:
689
When a MIDI track drives some MIDI device whose audio is fed into MusE,
690
solo chains allow the entire chain to be soloed.
691
692
Solo chains are accessed via routing menus. (See solo chain routes
693
\ref{soloing_chain_routes}).
694
695
\section{Plugins} \label{plugins}
696
Plugins are small add-ons which can process a track's data.
697
698
MIDI plugins operate on midi and drum tracks, and are found in
699
the \menu{Midi} menu.
700
701
Audio plugins can be applied to any track handling audio (that is,
702
inputs, outputs, wave tracks, synth tracks). The effects rack
703
section describes this. (See effects rack \ref{effects_rack}).
704
705
\subsection{The audio effects rack} \label{effects_rack}
706
All audio track types (Input, Output, Group, Wave, Synth, and Aux) have
707
an effects rack into which audio plugins can be inserted in a chain.
708
Currently each rack can accomodate up to four plugins.
709
710
MusE currently supports LADSPA plugins and DSSI synth and effects
711
plugins.
712
713
Plugins can be added by double-clicking on an entry in the effect rack
714
in the track info pane (which is shown at the left side of the arranger
715
when the according track is selected). Right-clicking the rack items
716
offers a self-explanatory popup menu.
717
718
All plugin controls can be automated. (See audio automation
719
\ref{audio_automation}).
720
721
One must carefully consider how many audio inputs and outputs a plugin
722
has, and how may channels the particular audio track has (1 mono or
723
2 stereo), and how MusE uses the plugins in the rack.
724
725
Learn more about this in the appendix Understanding the Effects Rack:
726
\ref{apx_effects_rack}
727
728
\subsubsection{Audio plugin Graphical User Interfaces (GUIs)}
729
\label{plugin_guis} Once a plugin is added, you need a way to
730
manipulate its controls, which affect its behaviour and operate
731
on the sound.
732
733
MusE can show a generic GUI which contains all of the
734
plugin's controls arranged in a rather plain generic fashion.
735
736
Some plugins may also have a native GUI which looks much better (it
737
was specifically designed for the plugin).
738
739
Both GUI types are opened from the effects rack right-click popup menu.
740
741
\section{Automation} \label{automation}
742
Automation is the ability to record (or construct) and playback
743
exact sequences of control movements.
744
745
MIDI and audio automation are each currently uniquely different,
746
but share some similarities.
747
748
\subsection{Audio automation} \label{audio_automation}
749
Almost all graphical audio controls in MusE can be automated.
750
751
This includes an audio track's volume and pan, and the controls
752
of any plugins in the effects rack, and if the track is a
753
synthesizer track, all of the synth's controls.
754
755
Each control has a manual adjustment value. This value is shown
756
when there is no automation data at all, or automation has been
757
disabled.
758
759
For plugin and synth controls, it is usually more desirable to
760
manipulate automation with the generic plugin GUIs, because
761
MusE has full control over their behaviour. (See plugin GUIs
762
\ref{plugin_guis}).
763
764
There are a few ways to enter audio automation data:
765
\begin{itemize}
766
\item By adjusting audio controls while the transport is rolling.
767
MusE will record the exact movements.
768
\item By adjusting audio controls while the transport is stopped,
769
at different transport positions. TOUCH mode allows this.
770
\item By right-clicking any audio control and choosing an operation
771
from the automation popup menu. This includes storing, erasing,
772
and clearing automation events, and seeking the next or previous
773
event.
774
\item By drawing the data on the audio track's automation graphs.
775
(See track automation \ref{track_attr_automation}).
776
\end{itemize}
777
\paragraph{Audio automation modes}
778
Each audio track strip has an automation mode button
779
at the bottom. There are four automation modes:
780
\begin{description}
781
\item [{OFF:}] Disables all automation, uses manual value always.
782
\item [{READ:}] Automation data is applied to controls. If any
783
automation data exists, the manual value is overridden and has
784
no effect.
785
\item [{TOUCH:}] Allows you to alter a control at any time, while
786
transport is stopped or rolling, If rolling, when the control is
787
released it returns to reading from automation data.
788
\item [{WRITE:}] Allows to adjust an initial value before rolling
789
the transport. While rolling, when the control is released it does
790
not return to reading from automation data.
791
\end{description}
792
Here is a screenshot of automation WRITE mode, and some automation
793
data, with the track pane automation popup menu showing (see track
794
automation \ref{track_attr_automation}):
795
\begin{figure}[htp]
796
\centering \includegraphics[width=\screenshotwidth]
797
{pics/main_window_with_automation}
798
\caption{Audio automation graphs}
799
\label{fig:audio_automation}
800
\end{figure}
801
802
\label{midi_automation} \subsection{Midi automation}
803
MIDI automation is a slightly different concept: Unlike audio
804
automation, currently there is no automation 'mode' and it doesn't
805
record graphical control movements. Data is viewed from within
806
the pianoroll and drum editors, by clicking on the 'Ctrl' button %% FIXME Ref to pianoroll
807
on those canvases.
808
809
Similar to audio controls, each midi control has a manual adjustment
810
value. This value is overridden when there is midi automation data.
811
812
There are a few ways to enter MIDI automation data:
813
\begin{itemize}
814
\item By adjusting external MIDI controls (such as a midi keyboard
815
pitch or modulation wheel) while the transport is rolling and both
816
the transport and midi track are in record mode. MusE will record
817
the exact movements. As mentioned earlier, note that graphical control
818
movements are not recorded. %% FIXME Feature requests for true midi automation
819
\item By right-clicking any midi control and choosing an operation
820
from the automation popup menu. This includes storing and erasing
821
automation events. %% FIXME Store/erase not enough functionality
822
\item By adjusting volume, pan, bank or program boxes in the midi
823
trackinfo panel and clicking the corresponding volume, pan, or
824
program buttons. (See midi trackinfo \ref{midi_trackinfo_sidebar}).
825
\item By drawing the data on a midi part's automation graphs.
826
\end{itemize}
827
Here is a screen shot of a midi track, containing a midi part
828
which has been opened with the pianoroll editor and automation %% FIXME Ref to pianoroll
829
data showing.
830
831
The 'Ctrl' popup menu (bottom left) shows available midi controllers
832
and the green dot indicates there is some data.
833
834
\begin{figure}[htp]
835
\centering \includegraphics[width=\screenshotwidth]
836
{pics/main_window_with_midi_automation}
837
\caption{MIDI automation graphs}
838
\label{fig:midi_automation}
839
\end{figure}
840
548
841
549
842
\section{Configuration}
843
844
\subsection{MIDI ports}
845
MIDI ports provide an abstraction layer for your MIDI hardware and
846
synthesizers (which can be both software and hardware synthesizers),
847
and other MIDI applications. Port are numbered. In order to produce
848
sound, each MIDI track is assigned to exactly one MIDI port, to which
849
the MIDI events are then sent.
850
851
The advantage of this abstraction layer is that if your system changes,
852
for example you change MIDI hardware, then you need only modify the
853
ports instead of all the tracks using those ports. This is similar
854
to the audio input and output track abstraction to the outside world.
855
856
\label{midi_port_config} \paragraph{MIDI port configuration}
857
In the midi/softsynth configuration menu, you must map the port numbers
858
to the actual devices (by selecting ALSA or jack midi ports, or synth
859
plugins).
860
861
Try left-clicking on the "Ports" column of some MIDI track.
862
If you use a soft synth, right-clicking the Ports column of the synth
863
or any track using the synth lets you launch the synth's GUI.
864
865
\begin{figure}[htp]
866
\centering \includegraphics[width=\screenshotwidth]
867
{pics/midi_config_window}
868
\caption{Midi configuration window}
869
\label{fig:midi_config_window}
870
\end{figure}
871
872
\paragraph{Columns in the MIDI configuration ports list:}
873
\begin{description}
874
\item [{GUI:}] For synthesizer devices, indicates if a gui is available
875
and if it is showing. Click to show.
876
\item [{I:}] If present, the port can accept MIDI input. Click to
877
enable or disable it.
878
\item [{O:}] If present, the port can send MIDI output. Click to enable
879
or disable it.
880
\item [{Instrument:}] Selects the instrument to be used when MIDI is
881
played through the port.
882
\item [{Device name:}] Selects or creates a MIDI device assigned to the
883
port. These can be Jack MIDI devices or ALSA MIDI devices (if ALSA is
884
enabled), or soft synthesizers. Jack MIDI devices are created by selecting
885
Create Jack Device from the Device name drop-down menu. Jack MIDI devices
886
can be renamed as you wish by clicking the device name. Soft synthesizers
887
are created by clicking in the soft synthesizer list and then Add
888
Instance. Or you can simply create a new synthesizer track from the
889
arranger track list, or even the mixer menus.
890
\item [{In and Out routes:}] These are for Jack MIDI devices, they are
891
the routes to and from available Jack MIDI ports. Jack may provide
892
different alias names for these ports, you can select which alias
893
is shown.
894
\item [{Default in channels:}] Auto-connect these port channels to
895
new midi or drum tracks.
896
\item [{Default out channel:}] Auto-connect new midi or drum tracks
897
to this channel on the port.
898
\item [{State:}] Indicates the state of the port including any errors
899
opening it.
900
\end{description}
901
902
\subsection{Global settings}
903
\subsubsection{Audio settings}
550
904
\paragraph{Minimum control period}
551
Plugins can usually process an arbitrarily small (or large) amount of
552
samples. If some plugin control value changes continously, to provide
905
Plugins can usually process an arbitrarily small (or large) amount
906
of samples. If some plugin control value changes continously, to provide
553
907
ideal listening experience, MusE would need to call the plugin 44100
554
908
times a second, asking for one single value at a time. With the minimum
555
909
control period setting, the user can force MusE to ask the plugin for
556
910
at least N values. Setting this value to 64 would in this situation
557
make MusE call the plugin $689 = \frac{44100}{64})$ times a second,
911
make MusE call the plugin $689=\frac{44100}{64})$ times a second,
558
912
asking for 64 values at a time. While doing this will reduce accuracy
559
913
of control changes, it may also reduce CPU usage, because calling
560
914
the plugin more often, requesting smaller chunks, is more expensive
564
918
downmix of your project, set this to a low value. If you're experiencing
565
919
performance problems, increasing this value might help.
566
920
567
568
569
570
921
\chapter{Appendix}
922
\label{apx_effects_rack} \section{Understanding the effects rack}
923
One must carefully consider how many audio inputs and outputs a plugin
924
has, and how may channels the particular audio track has (1 mono or
925
2 stereo), and how MusE uses the plugins in the rack.
926
927
MusE will try to internally create as many independent copies
928
(instances) of a plugin as necessary, to satisfy the number of channels
929
in the audio track.
930
Basically it divides the number of track channels by the number of
931
plugin audio inputs or outputs to determine how many copies to make.
932
First it examines the number of plugin audio outputs, and if there are
933
none, it will examine the number of audio inputs, and if there are
934
none, it will simply use just one plugin copy.
935
936
For mono tracks with plugins having more than one audio input or
937
output, MusE uses the first input or output and ignores the rest.
938
939
For stereo tracks:
940
941
\begin{tabular}{|c|c|c|c|c|}
942
\hline
943
plugin inputs & outputs & copies & track in route channels &
944
track out route channels\tabularnewline
945
\hline
946
\hline
947
0 & 0 & 1 & 0 & 0\tabularnewline
948
\hline
949
0 & 1 & 2 & 0 & 2\tabularnewline
950
\hline
951
0 & >=2 & 1 & 0 & 2\tabularnewline
952
\hline
953
1 & 0 & 2 & 2 & 0\tabularnewline
954
\hline
955
1 & 1 & 2 & 2 & 2\tabularnewline
956
\hline
957
1 & >=2 & 1 & 1 (L only) & 2\tabularnewline
958
\hline
959
>=2 & 0 & 1 & 2 & 0\tabularnewline
960
\hline
961
>=2 & 1 & 2 & 2 & 2\tabularnewline
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\hline
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>=2 & >=2 & 1 & 2 & 2\tabularnewline
964
\hline
965
\end{tabular}
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Notice that on a stereo track with a plugin having one audio input and
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two audio outputs, only the first track input route channel is used
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(left only).
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These same rules apply to inter-plugin audio when more than one plugin
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is in the rack chain. Extra audio outputs of one plugin may be ignored
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by the next plugin if not used.
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Currently specialized plugins with many inputs and/or outputs are not
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really useful in MusE.
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Nor are so-called 'realtime' control plugins which use audio inputs
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and outputs for control signals.
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Loud noise alert! Beware of using such plugins in an audio effects
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rack.
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Example: Consider a stereo Audio Input track with these effect rack
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LADSPA plugins:
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\begin{itemize}
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\item comb\_splitter Comb Splitter by Steve Harris
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\item tap\_stereo\_echo Tap Stereo Echo by Tom Szilagyi
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\end{itemize}
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The Comb Splitter has one audio input and two audio outputs.
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The Stereo Echo has two audio inputs and two audio outputs.
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The stereo Audio Input track will therefore ignore its second
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input route connection. It will process the left input only,
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separating it into stereo with the Comb Splitter, passing the
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split stereo signal into the Stereo Echo, finally producing
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stereo output available at the Audio Input track's output routes.
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One improvement would be not creating unused redundant plugin copies
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between plugins in stereo tracks.
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For example, for a plugin having one audio input and one audio output,
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feeding a plugin having one audio input and two audio outputs,
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the extra copy of the first plugin is redundant and not required,
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but currently it is created anyway.
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1011
\chapter{Internals -- how it works}
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This chapter explains how MusE is built internally, and is meant
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1013
to be an aid for developers wanting to quickly start up with MusE.
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1014
For details on \emph{why} stuff is done please refer to the following
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chapter.
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chapter.
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\section{User controls and automation}
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1017
\subsection{Handling user input}
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\subsubsection{Plugins and synthesizers}
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1040
(depending on whether the song is stopped or played).
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1041
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The \sym{AudioTrack::{\_}recEvents} list consists of \sym{CtrlRecVal}
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items (see \file{ctrl.h}), which hold the following data:
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items (see \file{ctrl.h}), which hold the following data:
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\begin{itemize}
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\item the frame where the change occurred
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\item the value
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\item the frame where the change occurred
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\item the value
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1047
\item the type, which can be \usym{ARVT{\_}START}, \usym{ARVT{\_}VAL} or \usym{ARVT{\_}STOP}.
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\usym{ARVT{\_}VAL} are written by every \usym{AudioTrack::recordAutomation}
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call, \usym{ARVT{\_}START} and \usym{ARVT{\_}STOP} are generated by
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\sym{AudioTrack::startAutoRecord} and \sym{stopAutoRecord},
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respectively.
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\sym{AudioTrack::startAutoRecord} and \sym{stopAutoRecord}, respectively.
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\item and the id of the controller which is affected
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1052
\end{itemize}
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It is processed when the song is stopped. The call path for this is:
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that is, a list of \sym{CtrlList}s, that is, a list of lists of
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controller-objects which hold the control points of the automation graph.
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The \sym{CtrlList} also stores whether the list is meant discrete
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(a new control point results in a value-jump) or continous (a new control
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(a new control point results in a value-jump) or continuous (a new control
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1070
point results in the value slowly sloping to the new value).
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Furthermore, it stores a \sym{{\_}curVal} (accessed by \sym{curVal()}),
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1072
which holds the currently active value, which can be different from the
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1089
\end{itemize}
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1090
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Whenever a \sym{CtrlList} has been manipulated,
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\sym{MusEGlobal::song->controllerChange(Track*)} shall be called,
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which emits the \sym{MusEGlobal::song->controllerChanged(Track*)}
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\sym{MusEGlobal::song->controllerChange(Track{*})} shall be called,
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which emits the \sym{MusEGlobal::song->controllerChanged(Track{*})}
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signal in order to inform any parts of MusE about the change (currently,
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only the arranger's part canvas utilizes this).
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1096
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default GUIs and \sym{PluginI::guiParamPressed},
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\sym{guiParamReleased}, \sym{guiSliderPressed} and
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\sym{guiSliderReleased} for MusE GUIs read from a UI file;
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\sym{guiSlider*} obviously handle sliders, while \sym{guiParam*}
1124
\sym{guiSlider{*}} obviously handle sliders, while \sym{guiParam{*}}
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1125
handle everything else which is not a slider. They call
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1126
\sym{PluginI::enableController} to enable/disable it.
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1127
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1137
\item For seek: \sym{Audio::seek} sends a message ("\sym{G}") to
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1138
\sym{Song::seqSignal} which calls
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1139
\sym{Song::clearRecAutomation} which calls
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\sym{PluginI::enableAllControllers}
1140
\sym{PluginI::enableAllControllers}
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1141
\end{itemize}
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705
1143
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1220
Once the user changes any parameter (automation data or plugins for
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1221
wave tracks, MIDI events or effect plugin stuff for MIDI tracks),
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1222
then MusE shall generate the sound for this particular track in the
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"old" way (send MIDI data to synthes, or pipe audio data through plugins).
1223
"old" way (send MIDI data to synthes, or pipe audio data through plugins).
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(So that the user will not even notice that MusE actually pre-renderered
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stuff.) Either MusE automatically records this while playback (if possible)
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or prompts the user to accordingly set up his cabling and then record
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1279
for every plugin in the plugin rack (recording the actual track is
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1280
useless because it would be a plain copy).
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Create a MIDI track, MusE will ask you on which physical audio input
844
your synth is connected. Setting up multiple synthes on one physical
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your synth is connected. Setting up multiple synthes on one physical
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audio in is allowed, see below.
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\paragraph{Pre-rendering stuff}
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\section{Slotted editors}
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Currently, MusE has the pianoroll editor, drum editor, score editor,
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1334
then the controller editor which is inside the pianoroll/drum editor.
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All these editors have a very similar concept: the "time axis" is
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vertical and (almost) linear, they handle parts, and events are
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All these editors have a very similar concept: the "time axis" is
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vertical and (almost) linear, they handle parts, and events are
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manipulated similarly.
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1338
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A unified editor shall be created which allows you to combine different
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1349
\item A time-scrollbar with zoom
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1350
\end{itemize}
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914
Each slot contains the following:
1352
Each slot contains the following:
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\begin{itemize}
916
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\item A menu button, button box or control panel for setting up this
917
1355
particular slot. This could contain "note head colors", "show
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1433
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1434
% bug in arranger/pcanvas/automation: if a controlpoint is directly on
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1435
% a line of another ctrl graph, you can't click it
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Loggerhead is a web-based interface for Breezy
Version: 2.0.1