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diff --git a/muse2/doc/html/single/developer_docs/developer_docs.css b/muse2/doc/html/single/developer_docs/developer_docs.css new file mode 100644 index 00000000..d3fede21 --- /dev/null +++ b/muse2/doc/html/single/developer_docs/developer_docs.css @@ -0,0 +1,34 @@ +/* Century Schoolbook font is very similar to Computer Modern Math: cmmi */ +.MATH { font-family: "Century Schoolbook", serif; } +.MATH I { font-family: "Century Schoolbook", serif; font-style: italic } +.BOLDMATH { font-family: "Century Schoolbook", serif; font-weight: bold } + +/* implement both fixed-size and relative sizes */ +SMALL.XTINY { font-size : xx-small } +SMALL.TINY { font-size : x-small } +SMALL.SCRIPTSIZE { font-size : smaller } +SMALL.FOOTNOTESIZE { font-size : small } +SMALL.SMALL { } +BIG.LARGE { } +BIG.XLARGE { font-size : large } +BIG.XXLARGE { font-size : x-large } +BIG.HUGE { font-size : larger } +BIG.XHUGE { font-size : xx-large } + +/* heading styles */ +H1 { } +H2 { } +H3 { } +H4 { } +H5 { } + +/* mathematics styles */ +DIV.displaymath { } /* math displays */ +TD.eqno { } /* equation-number cells */ + + +/* document-specific styles come next */ +DIV.navigation { } +SPAN.textit { font-style: italic } +SPAN.arabic { } +SPAN.textbf { font-weight: bold } diff --git a/muse2/doc/html/single/developer_docs/developer_docs.html b/muse2/doc/html/single/developer_docs/developer_docs.html new file mode 100644 index 00000000..9cf45e45 --- /dev/null +++ b/muse2/doc/html/single/developer_docs/developer_docs.html @@ -0,0 +1,1745 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> + +<!--Converted with LaTeX2HTML 2008 (1.71) +original version by: Nikos Drakos, CBLU, University of Leeds +* revised and updated by: Marcus Hennecke, Ross Moore, Herb Swan +* with significant contributions from: + Jens Lippmann, Marek Rouchal, Martin Wilck and others --> +<HTML> +<HEAD> +<TITLE>MusE Documentation</TITLE> +<META NAME="description" CONTENT="MusE Documentation"> +<META NAME="keywords" CONTENT="developer_docs"> +<META NAME="resource-type" CONTENT="document"> +<META NAME="distribution" CONTENT="global"> + +<META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=utf-8"> +<META NAME="Generator" CONTENT="LaTeX2HTML v2008"> +<META HTTP-EQUIV="Content-Style-Type" CONTENT="text/css"> + +<LINK REL="STYLESHEET" HREF="developer_docs.css"> + +</HEAD> + +<BODY > +<BR> + +<H2><A NAME="SECTION00100000000000000000"> +Contents</A> +</H2> +<!--Table of Contents--> + +<UL CLASS="TofC"> +<LI><A NAME="tex2html22" + HREF="developer_docs.html#SECTION00200000000000000000">Internals - how it works</A> +<UL> +<LI><A NAME="tex2html23" + HREF="developer_docs.html#SECTION00210000000000000000">User interface programming</A> +<LI><A NAME="tex2html24" + HREF="developer_docs.html#SECTION00220000000000000000">Configuration</A> +<LI><A NAME="tex2html25" + HREF="developer_docs.html#SECTION00230000000000000000">User controls and automation</A> +<UL> +<LI><A NAME="tex2html26" + HREF="developer_docs.html#SECTION00231000000000000000">Handling user input</A> +</UL> +</UL> +<BR> +<LI><A NAME="tex2html27" + HREF="developer_docs.html#SECTION00300000000000000000">Design decisions</A> +<UL> +<LI><A NAME="tex2html28" + HREF="developer_docs.html#SECTION00310000000000000000">Automation</A> +</UL> +<BR> +<LI><A NAME="tex2html29" + HREF="developer_docs.html#SECTION00400000000000000000">Feature requests</A> +<UL> +<LI><A NAME="tex2html30" + HREF="developer_docs.html#SECTION00410000000000000000">Per-Part automation and more on automation</A> +<LI><A NAME="tex2html31" + HREF="developer_docs.html#SECTION00420000000000000000">Pre-Rendering tracks</A> +<UL> +<LI><A NAME="tex2html32" + HREF="developer_docs.html#SECTION00421000000000000000">The feature</A> +<LI><A NAME="tex2html33" + HREF="developer_docs.html#SECTION00422000000000000000">Use cases</A> +<LI><A NAME="tex2html34" + HREF="developer_docs.html#SECTION00423000000000000000">Possible scenarios</A> +<LI><A NAME="tex2html35" + HREF="developer_docs.html#SECTION00424000000000000000">Extensions</A> +</UL> +<LI><A NAME="tex2html36" + HREF="developer_docs.html#SECTION00430000000000000000">Slotted editors</A> +<LI><A NAME="tex2html37" + HREF="developer_docs.html#SECTION00440000000000000000">Controller master values</A> +<LI><A NAME="tex2html38" + HREF="developer_docs.html#SECTION00450000000000000000">Enabled-indicator while recording</A> +<LI><A NAME="tex2html39" + HREF="developer_docs.html#SECTION00460000000000000000">Linear automation editing</A> +<LI><A NAME="tex2html40" + HREF="developer_docs.html#SECTION00470000000000000000">Symbolic names for MIDI ports</A> +</UL></UL> +<!--End of Table of Contents--> +<H1><A NAME="SECTION00200000000000000000"> +Internals - how it works</A> +</H1> +This chapter explains how MusE is built internally, and is meant +to be an aid for developers wanting to quickly start up with MusE. +For details on <SPAN CLASS="textit">why</SPAN> stuff is done please refer to the following +chapter. + +<P> + +<H1><A NAME="SECTION00210000000000000000"> +User interface programming</A> +</H1> +We use the QT Toolkit for GUI- and other programming. The <SPAN CLASS="textit">QT-Assistant</SPAN> +is an important tool for getting help. Almost everything can be looked +up there. + +<P> +GUIs can be either be hardcoded (see <TT>fterfirsta`a=95 _ `a=58 : + `a>64 + `a<91 aaa + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>rranger.cpp</TT> for an example) +or can be created using <SPAN CLASS="textit">QT-Designer</SPAN> (see the dialogs under +<TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>idgets/function_dialogs/</TT> for mostly cleanly-written examples). +Don't forget to add your <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>pp</TT>, <TT>fterfirsth`h=95 _ `h=58 : + `h>64 + `h<91 hhh + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>></TT> and <TT>fterfirstu`u=95 _ `u=58 : + `u>64 + `u<91 uuu + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>i</TT> files to the +corresponding sections in the <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>MakeLists.txt</TT>! + +<P> +Additionally, MusE offers some custom widgets, like menu title items etc. +Following, there will be a small, unordered list about custom widgets: + +<UL> +<LI><TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGui::MenuTitleItem</TT>: Provides a title-bar in a <TT>fterfirstQ`Q=95 _ `Q=58 : + `Q>64 + `Q<91 QQQ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>Menu</TT>. +<BR> +Usage: <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>omeMenu->addAction(new MusEGui::MenuTitleItem(tr("fnord"), someMenu));</TT> +<BR> +Defined in <TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>idgets/menutitleitem.h</TT>. +</LI> +<LI><TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGui::PopupMenu</TT>: Provides a <TT>fterfirstQ`Q=95 _ `Q=58 : + `Q>64 + `Q<91 QQQ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>Menu</TT>-like menu which + can stay open after the user checks a checkable action. +<BR> +Usage: just create a <TT>fterfirstn`n=95 _ `n=58 : + `n>64 + `n<91 nnn + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ew PopupMenu( true|false )</TT> instead of + a <TT>fterfirstn`n=95 _ `n=58 : + `n>64 + `n<91 nnn + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ew QMenu()</TT>. (<TT>fterfirstt`t=95 _ `t=58 : + `t>64 + `t<91 ttt + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>rue</TT> means 'stay open') +<BR> +Defined in <TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>idgets/popupmenu.h</TT>. +</LI> +</UL> + +<P> + +<H1><A NAME="SECTION00220000000000000000"></A> <A NAME="portconfig_sucks"></A> +<BR> +Configuration +</H1> +Configuration is a bit pesky in MusE in its current state. If you get +confused by reading this chapter, that's a sign of a sane mind. + +<P> +There are three kinds of configuration items: + +<UL> +<LI>(1) Global configuration, like coloring schemes, plugin categories, MDI-ness settings +</LI> +<LI>(2) Per-Song configuration, like whether to show or hide certain track types in the arranger +</LI> +<LI>(3) Something in between, like MIDI port settings etc. They obviously actually are + global configuration issues (or ought to be), but also obviously must be stored + in the song file for portability. (This problem could possibly be solved by + the feature proposal in <A HREF="#symbolic_ports">3.7</A>. +</LI> +</UL> + +<P> + +<H4><A NAME="SECTION00220010000000000000"> +Reading configuration</A> +</H4> +<TT>fterfirstv`v=95 _ `v=58 : + `v>64 + `v<91 vvv + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>oid MusECore::readConfiguration(Xml&, bool, bool)</TT> in +<TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>onf.cpp</TT> is the central point +of reading configuration. It is called when MusE is started first +(by <TT>fterfirstb`b=95 _ `b=58 : + `b>64 + `b<91 bbb + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ool MusECore::readConfiguration()</TT>), and also when a +song is loaded. +<BR>It can be instructed whether to read MIDI ports (3), global configuration +and MIDI ports (1+3). Per-Song configuration is always read (2). + +<P> +When adding new configuration items and thus altering <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eadConfiguration()</TT>, +you must take care to place your item into the correct section. The code is +divided into the following sections: + +<UL> +<LI>Global and/or per-song configuration (3) +</LI> +<LI>Global configuration (1) +</LI> +<LI>Code for skipping obsolete entries +</LI> +</UL> + +<P> +The sections are divided by comments (they contain <TT>--</TT>, so just +search for them). Please do not just remove code for reading obsolete entries, +but always add an appropriate entry to the 'skipping' section in order to +prevent error messages when reading old configs. + +<P> + +<H4><A NAME="SECTION00220020000000000000"> +Writing configuration</A> +</H4> +Global configuration is written using the +<TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGui::MusE::writeGlobalConfiguration()</TT> functions, while +per-song-config is written by <TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGui::MusE::writeConfiguration()</TT> +(notice the missing <TT>fterfirstG`G=95 _ `G=58 : + `G>64 + `G<91 GGG + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>lobal</TT>; both implemented in <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>onf.cpp</TT>). + +<P> +<TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>riteConfiguration</TT> is actually just a subset of the code in +<TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>riteGlobalConfiguration</TT>. <SPAN CLASS="textbf">Duplicate code!</SPAN> +<P> + +<H4><A NAME="SECTION00220030000000000000"> +Song state</A> +</H4> +Additionally to per-song configuration, there is the song's state. +This contains "the song", that is all tracks, parts and note events, +together with information about the currently opened windows, their +position, size, settings and so on. Adding new items here is actually +pretty painless: Configuration is read and written using +<TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usECore::Song::read</TT> and <TT>fterfirst:`:=95 _ `:=58 : + `:>64 + `:<91 ::: + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>:write</TT>, both implemented in +<TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ongfile.cpp</TT>. There are no caveats. + +<P> + +<H4><A NAME="SECTION00220040000000000000"> +How to add new items</A> +</H4> +When adding global configuration items, then add them into the second +block ("global configuration") in <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eadConfiguration</TT> and into +<TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>riteGlobalConfiguration</TT>. + +<P> +When adding just-per-song items, better don't bother to touch the +"configuration" code and just add it to the song's state (there might +be rare exceptions). + +<P> +When adding global configuration items, make sure you add them into the +correct section of <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eadConfiguration</TT>, and into <TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>riteGlobalConfiguration</TT>. + +<P> + +<H1><A NAME="SECTION00230000000000000000"> +User controls and automation</A> +</H1> + +<H2><A NAME="SECTION00231000000000000000"> +Handling user input</A> +</H2> + +<H3><A NAME="SECTION00231100000000000000"> +Plugins and synthesizers</A> +</H3> + +<H4><A NAME="SECTION00231110000000000000"> +Overview</A> +</H4> +When the user launches a plugin's GUI, either a MusE-window with +the relevant controls is shown, or the native GUI is launched. MusE +will communicate with this native GUI through OSC (Open Sound Control). +The relevant classes are <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginGui</TT>, <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginIBase</TT> +(in <TT>fterfirstp`p=95 _ `p=58 : + `p>64 + `p<91 ppp + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>lugin.h</TT>) and <TT>fterfirstO`O=95 _ `O=58 : + `O>64 + `O<91 OOO + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>scIF</TT> (in <TT>fterfirsto`o=95 _ `o=58 : + `o>64 + `o<91 ooo + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>sc.h</TT>). + +<P> +If the user changes a GUI element, first the corresponding control is +disabled, making MusE not steadily update it through automation +while the user operates it. Then MusE will update the plugin's parameter +value, and also record the new value. When appropriate, the controller +is enabled again. + +<P> + +<H4><A NAME="SECTION00231120000000000000"> +Processing the input, recording</A> +</H4> +Upon operating a slider, <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginIBase::setParam</TT> is called, +which usually writes the control change into the ringbuffer +<TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT>. (<TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::apply()</TT>, +<TT>fterfirstD`D=95 _ `D=58 : + `D>64 + `D<91 DDD + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ssiSynthIF::getData()</TT> will read this ringbuffer and +do the processing accordingly). Furthermore, <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::recordAutomation</TT> +is called, which either directly modifies the controller lists or writes +the change into a "to be recorded"-list (<TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::_recEvents</TT>) +(depending on whether the song is stopped or played). + +<P> +The <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::_recEvents</TT> list consists of <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlRecVal</TT> +items (see <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trl.h</TT>), which hold the following data: + +<UL> +<LI>the frame where the change occurred +</LI> +<LI>the value +</LI> +<LI>the type, which can be <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_START</TT>, <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_VAL</TT> or <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_STOP</TT>. + <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_VAL</TT> are written by every <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>udioTrack::recordAutomation</TT> + call, <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_START</TT> and <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_STOP</TT> are generated by + <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::startAutoRecord</TT> and <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>topAutoRecord</TT>, respectively. +</LI> +<LI>and the id of the controller which is affected +</LI> +</UL> +It is processed when the song is stopped. The call path for this is: +<TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::stopRolling</TT> calls <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::processAutomationEvents</TT> +calls <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::processAutomationEvents</TT>. +This function removes the old events from the track's controller list +and replaces them with the new events from <TT>fterfirst_`_=95 _ `_=58 : + `_>64 + `_<91 ___ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>recEvents</TT>. In +<TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_WRITE</TT> mode, just all controller events within the recorded +range are erased; in <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_TOUCH</TT> mode, the <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_START</TT> +and <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_STOP</TT> types of the <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlRecVal</TT> events are used +to determine the range(s) which should be wiped. + +<P> + +<H4><A NAME="SECTION00231130000000000000"> +How it's stored</A> +</H4> +Automation data is kept in <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::_controller</TT>, which is a <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlListList</TT>, that is, a list of <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT>s, that is, a list of lists of +controller-objects which hold the control points of the automation graph. +The <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT> also stores whether the list is meant discrete +(a new control point results in a value-jump) or continuous (a new control +point results in the value slowly sloping to the new value). +Furthermore, it stores a <TT>fterfirst_`_=95 _ `_=58 : + `_>64 + `_<91 ___ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>curVal</TT> (accessed by <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>urVal()</TT>), +which holds the currently active value, which can be different from the +actually stored value because of user interaction. This value is also +used when there is no stored automation data. + +<P> +<TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::addController</TT> and <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>emoveController</TT> are used to add/remove whole controller types; the most important functions which +access <TT>fterfirst_`_=95 _ `_=58 : + `_>64 + `_<91 ___ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>controller</TT> are: + +<UL> +<LI><TT>fterfirstp`p=95 _ `p=58 : + `p>64 + `p<91 ppp + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>rocessAutomationEvents</TT>, <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ecordAutomation</TT>, + <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>tartAutoRecord</TT>, <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>topAutoRecord</TT>: see above. +</LI> +<LI><TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eekPrevACEvent</TT>, <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eekNextACEvent</TT>, <TT>fterfirste`e=95 _ `e=58 : + `e>64 + `e<91 eee + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>raseACEvent</TT>, + <TT>fterfirste`e=95 _ `e=58 : + `e>64 + `e<91 eee + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>raseRangeACEvents</TT>, <TT>fterfirsta`a=95 _ `a=58 : + `a>64 + `a<91 aaa + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ddACEvent</TT>, <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>hangeACEvent</TT>, + which do the obvious +</LI> +<LI><TT>fterfirstp`p=95 _ `p=58 : + `p>64 + `p<91 ppp + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginCtrlVal</TT>, <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>etPluginCtrlVal</TT>: the first + returns the current value according to the <TT>fterfirst_`_=95 _ `_=58 : + `_>64 + `_<91 ___ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>controller</TT> + list, the second only sets the <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>urVal</TT>, but does not + insert any events. +</LI> +</UL> + +<P> +Whenever a <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT> has been manipulated, +<TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGlobal::song->controllerChange(Track*)</TT> shall be called, +which emits the <TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGlobal::song->controllerChanged(Track*)</TT> +signal in order to inform any parts of MusE about the change (currently, +only the arranger's part canvas utilizes this). + +<P> + +<H4><A NAME="SECTION00231140000000000000"> +Enabling and disabling controllers</A> +</H4> +Disabling the controller is both dependent from the current automation +mode and from whether the GUI is native or not. +In <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_WRITE</TT> mode, once a slider is touched (for MusE-GUIs) or +once a OSC control change is received (for native GUIs), the control +is disabled until the song is stopped or seeked. + +<P> +In <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_TOUCH</TT> (and currently (r1492) <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_READ</TT>, but +that's to be fixed) mode, once a MusE-GUI's slider is pressed down, the +corresponding control is disabled. Once the slider is released, the +control is re-enabled again. Checkboxes remain in "disabled" mode, +however they only affect the recorded automation until the last toggle +of the checkbox. (Example: start the song, toggle the checkbox, toggle +it again, wait 10 seconds, stop the song. This will NOT overwrite the +last 10 seconds of automation data, but everything between the first +and the last toggle.). For native GUIs, this is a bit tricky, because +we don't have direct access to the GUI widgets. That is, we have no +way to find out whether the user doesn't touch a control at all, or +whether he has it held down, but just doesn't operate it. The current +behaviour for native GUIs is to behave like in <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_WRITE</TT> mode. + +<P> +The responsible functions are: <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::oscControl</TT> and +<TT>fterfirstD`D=95 _ `D=58 : + `D>64 + `D<91 DDD + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ssiSynthIF::oscControl</TT> for handling native GUIs, +<TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::ctrlPressed</TT> and <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlReleased</TT> for MusE +default GUIs and <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::guiParamPressed</TT>, +<TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiParamReleased</TT>, <TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiSliderPressed</TT> and +<TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiSliderReleased</TT> for MusE GUIs read from a UI file; +<TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiSlider*</TT> obviously handle sliders, while <TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiParam*</TT> +handle everything else which is not a slider. They call +<TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::enableController</TT> to enable/disable it. + +<P> +Furthermore, on every song stop or seek, <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::enableAllControllers</TT> +is called, which re-enables all controllers again. The call paths for +this are: + +<UL> +<LI>For stop: <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::stopRolling</TT> calls + <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::processAutomationEvents</TT> calls + <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::clearRecAutomation</TT> calls + <TT>fterfirstT`T=95 _ `T=58 : + `T>64 + `T<91 TTT + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>rack::clearRecAutomation</TT> calls + <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::enableAllControllers</TT> +</LI> +<LI>For seek: <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udio::seek</TT> sends a message ("<TT>fterfirstG`G=95 _ `G=58 : + `G>64 + `G<91 GGG + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>></TT>") to + <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::seqSignal</TT> which calls + <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::clearRecAutomation</TT> which calls + <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::enableAllControllers</TT> +</LI> +</UL> + +<P> + +<H1><A NAME="SECTION00300000000000000000"> +Design decisions</A> +</H1> + +<H1><A NAME="SECTION00310000000000000000"> +Automation</A> +</H1> +As of revision 1490, automation is handled in two ways: User-generated +(live) automation data (generated by the user moving sliders while playing) +is fed into <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT>. Automation data is kept +in <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::_controller</TT>, which is a <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlListList</TT>, +that is, a list of <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT>s, that is, a list of lists of +controller-objects which hold the control points of the automation graph. +The <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT> also stores whether the list is meant discrete +(a new control point results in a value-jump) or continous (a new control +point results in the value slowly sloping to the new value). + +<P> +While <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT> can be queried very quickly and +thus is processed with a very high resolution (only limited by the +minimum control period setting), the automation value are expensive to +query, and are only processed once in an audio <SPAN CLASS="textit">driver</SPAN> period. +This might lead to noticeable jumps in value. + +<P> +This could possibly be solved in two ways: + +<H4><A NAME="SECTION00310010000000000000"> +Maintaining a slave control list</A> +</H4> +This approach would maintain a fully redundant slave control list, +similar to <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT>. This list must be updated +every time any automation-related thing is changed, and shall contain +every controller change as a tuple of controller number and value. +This could be processed in the same loop as <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT>, +making it comfortable to implement; furthermore, it allows to cleanly +offer automation-settings at other places in future (such as storing +automation data in parts or similar). + +<P> + +<H4><A NAME="SECTION00310020000000000000"> +Holding iterators</A> +</H4> +We also could hold a list of iterators of the single <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT>s. +This would also cause low CPU usage, because usually, the iterators only +need to be incremented once. However, it is pretty complex to implement, +because the iterators may become totally wrong (because of a seek in the +song), and we must iterate through a whole list of iterators. + +<P> + +<H4><A NAME="SECTION00310030000000000000"> +Just use the current data access functions</A> +</H4> +By just using the current functions for accessing automation data, +we might get a quick-and-dirty solution, which however wastes way too +much CPU ressources. This is because on <SPAN CLASS="textit">every single frame</SPAN>, we +need to do a binary search on multiple controller lists. + +<P> + +<H1><A NAME="SECTION00400000000000000000"> +Feature requests</A> +</H1> + +<H1><A NAME="SECTION00410000000000000000"> +Per-Part automation and more on automation</A> +</H1> Automation shall be undo-able. Automation shall reside in parts which +are exchangeable, clonable etc (like the MIDI- and Wave-Parts). +Global per-synth/per-audiotrack automation shall also be available, but +this can also be implemented as special case of part automation (one +long part). + +<P> + +<H1><A NAME="SECTION00420000000000000000"> +Pre-Rendering tracks</A> +</H1> + +<H2><A NAME="SECTION00421000000000000000"> +The feature</A> +</H2> +All tracks shall be able to be "pre-renderable". Pre-rendering shall +be "layered". Pre-rendering shall act like a transparent audio cache: +Audio data is (redundantly) stored, wasting memory in order to save CPU. + +<P> +That is: Each track owns one or more wave-recordings of the length of +the song. If the user calls "pre-render" on a track, then this track +is played quasi-solo (see below), and the raw audio data is recorded +and stored in the "layer 0" wave recording. If the user has any effects +set up to be applied, then each effect is applied on a different layer +(creating layer 1, layer 2 etc). + +<P> +This means, that also MIDI and drum tracks can have effects (which +usually only operate on audio, but we HAVE audio data because of this +prerendering). + +<P> +Furthermore, MusE by default does not send MIDI events to the synthesizers +but instead just plays back the last layer of the prerecording (for +MIDI tracks), or does not pipe the audio data through the whole plugin +chain (causing cpu usage), but instead just plays back the last layer. +The hearable result shall be the same. + +<P> +Once the user changes any parameter (automation data or plugins for +wave tracks, MIDI events or effect plugin stuff for MIDI tracks), +then MusE shall generate the sound for this particular track in the +"old" way (send MIDI data to synthes, or pipe audio data through plugins). +(So that the user will not even notice that MusE actually pre-renderered +stuff.) Either MusE automatically records this while playback (if possible) +or prompts the user to accordingly set up his cabling and then record +it. Or (temporarily) disables prerecording for this track, falling back +to the plain old way of generating sound. + +<P> +<SPAN CLASS="textit">Quasi-solo</SPAN> means: For wave tracks, just solo the track. For MIDI +tracks, mute all tracks which are not on the same synth (channel?), +and mute all <SPAN CLASS="textit">note</SPAN> events which are not on the quasi-soloed track. +This causes MusE to still play any controller events from different +tracks, because they might have effects on the quasi-soloed track. (You +can have notes on channel 1 on one track and controller stuff on channel +1 on another track; then you would need quasi-solo to get proper results.) + +<P> + +<H2><A NAME="SECTION00422000000000000000"> +Use cases</A> +</H2> + +<H4><A NAME="SECTION00422010000000000000"> +Saving CPU</A> +</H4> +On slow systems, this is neccessary for songs with lots of, or demanding +(or both) soft synthes / plugins. Even if the synth or plugin is so +demanding that your system is not able to produce sound in real-time, +then with this feature you'll be able to use the synth (this will make +editing pretty laggish, because for a change you need to re-render at +least a part before you can listen to it, but better than being unable +to use the synth at all!) + +<P> + +<H4><A NAME="SECTION00422020000000000000"> +Exporting as audio project</A> +</H4> +Using pre-rendering on all tracks, you easily can export your project +as multi-track audio file (for use with Ardour or similar DAWs). +Just take the last layer of each track, and write the raw audio data +into the file, and you're done. (Maybe we are even able to write down +the raw-raw layer0 audio data plus information about used plugins and +settings etc..?) + +<P> + +<H4><A NAME="SECTION00422030000000000000"> +Mobile audio workstations</A> +</H4> +You might want to work a bit on your audio projects on your notebook +while you're not at home, not having access to your hardware synthesizers. +Using this feature, you could have pre-recorded the stuff in your studio +before, and now can at least fiddle around with the non-hw-synth-dependent +parts of your song, while still having your <SPAN CLASS="textit">full</SPAN> song with you. + +<P> + +<H4><A NAME="SECTION00422040000000000000"> +Applying effects on MIDI tracks</A> +</H4> +If you have many physical audio inputs, you might already be able to +apply effect chains on MIDI tracks, by wiring the synthes' audio +outputs to your soundcard's inputs, and applying the effects on +dedicated input tracks you have to create. This requires you to have +expensive hardware, and is pretty complicated, because you need one +additional track per MIDI synth. + +<P> +This feature allows you to apply effects on single MIDI tracks, and not +only on full MIDI synthes, and doesn't require you to be have that +many physical audio inputs (you need to manually replug your synthes, +however). + +<P> + +<H2><A NAME="SECTION00423000000000000000"> +Possible scenarios</A> +</H2> + +<H4><A NAME="SECTION00423010000000000000"> +Setting it up</A> +</H4> +Create a wave track, MusE will allow you to set or unset prerendering +for every plugin in the plugin rack (recording the actual track is +useless because it would be a plain copy). +Create a MIDI track, MusE will ask you on which physical audio input +your synth is connected. Setting up multiple synthes on one physical +audio in is allowed, see below. + +<P> + +<H4><A NAME="SECTION00423020000000000000"> +Pre-rendering stuff</A> +</H4> +When the user presses the "pre-render" button, all tracks which have +been changed since their last pre-rendering will be re-rendered. +If you have multiple hardware synthes set up as they were connected +to one physical audio input port, MusE will prompt you to first plug +the proper cable in. + +<P> + +<H4><A NAME="SECTION00423030000000000000"> +Making changes</A> +</H4> +Change a note in a MIDI part, move or delete a part or change automation +parameters. MusE will temporarily disable the pre-rendered information +and instead generate the sound via sending out MIDI events, piping stuff +through effect chains or similar. If you play back the whole song, or +if you manually trigger a re-rendering of a track via the context menu, +MusE will play back the stuff, record it again and re-enable the +pre-rendered information. + +<P> + +<H2><A NAME="SECTION00424000000000000000"> +Extensions</A> +</H2> + +<H4><A NAME="SECTION00424010000000000000"> +Automatic discovery of physical audio connections</A> +</H4> +The user plugs all (or only some) synthes' audio outs into the available +audio inputs, then runs automatic discovery. This will send MIDI events +to each synthesizer, and look on which audio in there's activity. Then +it will assume that the synthesizer is connected to that particular +audio in. Audio ins which show activity before any MIDI events were +sent are not considered, as they're probably connected to microphones +or other noise-generating non-synthes. + +<P> + +<H4><A NAME="SECTION00424020000000000000"> +Audio export</A> +</H4> +As described in the Use cases, MusE can allow you to export your song +in some multitrack audio format. + +<P> + +<H4><A NAME="SECTION00424030000000000000"> +Cheap/Faked changes</A> +</H4> +For expensive or unavailable synthes, changing the Volume midi controller, +the Pan controller or similar "easy" controllers will not trigger a +complete re-rendering, but instead "fake" the change, by changing +the volume data directly on the recorded wave. This might require some +learning and might even get pretty complicated. + +<P> + +<H4><A NAME="SECTION00424040000000000000"> +Intelligent re-recording</A> +</H4> +For tiny changes, MusE shall only re-render the relevant part. If you +change some MIDI notes, then begin re-recording shortly before the +changes, and end re-recording as soon as the recorded stuff doesn't +differ to much from the stuff coming from the synth. Then properly +blend the old recording with the updated part. + +<P> + +<H1><A NAME="SECTION00430000000000000000"> +Slotted editors</A> +</H1> +Currently, MusE has the pianoroll editor, drum editor, score editor, +then the controller editor which is inside the pianoroll/drum editor. +All these editors have a very similar concept: the "time axis" is +vertical and (almost) linear, they handle parts, and events are +manipulated similarly. + +<P> +A unified editor shall be created which allows you to combine different +kinds of editors in one window, properly aligned against each other. +These "different kinds of editors" shall be handled as "slots"; one +unified editor window consists of: + +<UL> +<LI>A menu bar, containing stuff suitable for the complete window, + which might include window name, MDI-ness etc. +</LI> +<LI>A toolbar which contains controls suitable for every single slot. +</LI> +<LI>A container with one or more slots; the slots can be scrolled in + y-direction if there are multipe slots. +</LI> +<LI>A time-scrollbar with zoom +</LI> +</UL> + +<P> +Each slot contains the following: + +<UL> +<LI>A menu button, button box or control panel for setting up this + particular slot. This could contain "note head colors", "show + a transposing instrument" etc for score edit slots, "event + rectangle color", "grid size" and "snap to grid" for pianoroll/ + drum editors. +</LI> +<LI>The actual canvas +</LI> +<LI>A y-direction scroll bar, possibly with zoom control (for + pianoroll editor) +</LI> +</UL> + +<P> +The main window does not show its scroll bar if there is only one slot, +because the slot's scrollbar is sufficient then. + +<P> +Slots can be added, destroyed, moved around, maybe even merged (if the +slot types allow it); basically, you can compare them with the staves +in the score editor. + +<P> +The slots shall align against each other, that is, if a score editor +slot displays a key change with lots of accidentials, then all other +slots shall either also display the key change (if they're score slots) +or display a gap. Events which happen at the same time shall be at the +same x-coordinate, regardless which slot they are. + +<P> + +<H1><A NAME="SECTION00440000000000000000"> +Controller master values</A> +</H1> +All controllers (MIDI-controllers and also automation controllers) +shall have one set of "master values" which allow you to set a gain and +a bias. Instead of the actual set value, <!-- MATH + $\textrm{value} * \textrm{bias} ++ textrm{bias}$ + --> +<SPAN CLASS="MATH"><IMG + WIDTH="180" HEIGHT="30" ALIGN="MIDDLE" BORDER="0" + SRC="img1.png" + ALT="$\textrm{value} * \textrm{bias} ++ textrm{bias}$"></SPAN> shall be sent to the MIDI device / the plugin. For +controllers like "pan", the unbiased values shall be transformed, that +is, a pan of 64, with <!-- MATH + $\textrm{bias}=2$ + --> +<SPAN CLASS="MATH"><IMG + WIDTH="61" HEIGHT="15" ALIGN="BOTTOM" BORDER="0" + SRC="img2.png" + ALT="$\textrm{bias}=2$"></SPAN> and <!-- MATH + $\textrm{gain}=0.5$ + --> +<SPAN CLASS="MATH"><IMG + WIDTH="75" HEIGHT="30" ALIGN="MIDDLE" BORDER="0" + SRC="img3.png" + ALT="$\textrm{gain}=0.5$"></SPAN>, shall +be transformed to 66 (because 64 is actually 0, while 0 is actually -64). +These values shall be set in the arranger and whereever the actual +controller/automation values can be edited. + +<P> + +<H1><A NAME="SECTION00450000000000000000"> +Enabled-indicator while recording</A> +</H1> +The MusE-plugin-GUIs shall display a small LED displaying whether a +controller is currently enabled or disabled. By clicking this LED, the +enabled state shall be switched. + +<P> +Furthermore, there shall be a dedicated window which only lets you switch +enabled/disabled states. This will be useful when using external GUIs +or the MIDI-controller-to-automation feature, to re-enable a controller +when in <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_TOUCH</TT> mode. + +<P> + +<H1><A NAME="SECTION00460000000000000000"> +Linear automation editing</A> +</H1> +While holding some modifier key (like shift), operating the MusE-native- +GUI sliders shall only generate control points when clicking and when +releasing the slider. This will result in linear graphs for continous +controllers, and in large steps for discrete controllers (which is in +particular useful for stuff like "which low/high-pass filter type to use"). + +<P> +Maybe make this behaviour default for discrete controllers? + +<P> + +<H1><A NAME="SECTION00470000000000000000"></A> <A NAME="symbolic_ports"></A> +<BR> +Symbolic names for MIDI ports +</H1> +MIDI ports shall have a user-defined symbolic name (like "Korg" or "Yamaha DX 7"). +The mapping between these symbolic names and the hardware port (like +"ALSA midi out port") is stored in the global configuration. + +<P> +Song files only specify the symbolic names as the ports associated with +their tracks. No information about physical devices/port names, but only +symbolic names are stored in the song file. + +<P> +This resolves the issues mentioned in <A HREF="#portconfig_sucks">1.2</A>, and also +allows the user to share his pieces with other people: They would only +have to set up that symbolic-to-hardware mapping once (collisions are +unlikely, because an equal symbolic name should usually mean the same +device) and are happy, instead of having to re-map <SPAN CLASS="textit">every</SPAN> port +for <SPAN CLASS="textit">every</SPAN> song. + +<P> +<BR><HR> + +</BODY> +</HTML> diff --git a/muse2/doc/html/single/developer_docs/img1.png b/muse2/doc/html/single/developer_docs/img1.png Binary files differnew file mode 100644 index 00000000..85b2087d --- /dev/null +++ b/muse2/doc/html/single/developer_docs/img1.png diff --git a/muse2/doc/html/single/developer_docs/img2.png b/muse2/doc/html/single/developer_docs/img2.png Binary files differnew file mode 100644 index 00000000..b5a0cc4b --- /dev/null +++ b/muse2/doc/html/single/developer_docs/img2.png diff --git a/muse2/doc/html/single/developer_docs/img3.png b/muse2/doc/html/single/developer_docs/img3.png Binary files differnew file mode 100644 index 00000000..ac4a584a --- /dev/null +++ b/muse2/doc/html/single/developer_docs/img3.png diff --git a/muse2/doc/html/single/developer_docs/index.html b/muse2/doc/html/single/developer_docs/index.html new file mode 100644 index 00000000..9cf45e45 --- /dev/null +++ b/muse2/doc/html/single/developer_docs/index.html @@ -0,0 +1,1745 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> + +<!--Converted with LaTeX2HTML 2008 (1.71) +original version by: Nikos Drakos, CBLU, University of Leeds +* revised and updated by: Marcus Hennecke, Ross Moore, Herb Swan +* with significant contributions from: + Jens Lippmann, Marek Rouchal, Martin Wilck and others --> +<HTML> +<HEAD> +<TITLE>MusE Documentation</TITLE> +<META NAME="description" CONTENT="MusE Documentation"> +<META NAME="keywords" CONTENT="developer_docs"> +<META NAME="resource-type" CONTENT="document"> +<META NAME="distribution" CONTENT="global"> + +<META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=utf-8"> +<META NAME="Generator" CONTENT="LaTeX2HTML v2008"> +<META HTTP-EQUIV="Content-Style-Type" CONTENT="text/css"> + +<LINK REL="STYLESHEET" HREF="developer_docs.css"> + +</HEAD> + +<BODY > +<BR> + +<H2><A NAME="SECTION00100000000000000000"> +Contents</A> +</H2> +<!--Table of Contents--> + +<UL CLASS="TofC"> +<LI><A NAME="tex2html22" + HREF="developer_docs.html#SECTION00200000000000000000">Internals - how it works</A> +<UL> +<LI><A NAME="tex2html23" + HREF="developer_docs.html#SECTION00210000000000000000">User interface programming</A> +<LI><A NAME="tex2html24" + HREF="developer_docs.html#SECTION00220000000000000000">Configuration</A> +<LI><A NAME="tex2html25" + HREF="developer_docs.html#SECTION00230000000000000000">User controls and automation</A> +<UL> +<LI><A NAME="tex2html26" + HREF="developer_docs.html#SECTION00231000000000000000">Handling user input</A> +</UL> +</UL> +<BR> +<LI><A NAME="tex2html27" + HREF="developer_docs.html#SECTION00300000000000000000">Design decisions</A> +<UL> +<LI><A NAME="tex2html28" + HREF="developer_docs.html#SECTION00310000000000000000">Automation</A> +</UL> +<BR> +<LI><A NAME="tex2html29" + HREF="developer_docs.html#SECTION00400000000000000000">Feature requests</A> +<UL> +<LI><A NAME="tex2html30" + HREF="developer_docs.html#SECTION00410000000000000000">Per-Part automation and more on automation</A> +<LI><A NAME="tex2html31" + HREF="developer_docs.html#SECTION00420000000000000000">Pre-Rendering tracks</A> +<UL> +<LI><A NAME="tex2html32" + HREF="developer_docs.html#SECTION00421000000000000000">The feature</A> +<LI><A NAME="tex2html33" + HREF="developer_docs.html#SECTION00422000000000000000">Use cases</A> +<LI><A NAME="tex2html34" + HREF="developer_docs.html#SECTION00423000000000000000">Possible scenarios</A> +<LI><A NAME="tex2html35" + HREF="developer_docs.html#SECTION00424000000000000000">Extensions</A> +</UL> +<LI><A NAME="tex2html36" + HREF="developer_docs.html#SECTION00430000000000000000">Slotted editors</A> +<LI><A NAME="tex2html37" + HREF="developer_docs.html#SECTION00440000000000000000">Controller master values</A> +<LI><A NAME="tex2html38" + HREF="developer_docs.html#SECTION00450000000000000000">Enabled-indicator while recording</A> +<LI><A NAME="tex2html39" + HREF="developer_docs.html#SECTION00460000000000000000">Linear automation editing</A> +<LI><A NAME="tex2html40" + HREF="developer_docs.html#SECTION00470000000000000000">Symbolic names for MIDI ports</A> +</UL></UL> +<!--End of Table of Contents--> +<H1><A NAME="SECTION00200000000000000000"> +Internals - how it works</A> +</H1> +This chapter explains how MusE is built internally, and is meant +to be an aid for developers wanting to quickly start up with MusE. +For details on <SPAN CLASS="textit">why</SPAN> stuff is done please refer to the following +chapter. + +<P> + +<H1><A NAME="SECTION00210000000000000000"> +User interface programming</A> +</H1> +We use the QT Toolkit for GUI- and other programming. The <SPAN CLASS="textit">QT-Assistant</SPAN> +is an important tool for getting help. Almost everything can be looked +up there. + +<P> +GUIs can be either be hardcoded (see <TT>fterfirsta`a=95 _ `a=58 : + `a>64 + `a<91 aaa + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>rranger.cpp</TT> for an example) +or can be created using <SPAN CLASS="textit">QT-Designer</SPAN> (see the dialogs under +<TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>idgets/function_dialogs/</TT> for mostly cleanly-written examples). +Don't forget to add your <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>pp</TT>, <TT>fterfirsth`h=95 _ `h=58 : + `h>64 + `h<91 hhh + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>></TT> and <TT>fterfirstu`u=95 _ `u=58 : + `u>64 + `u<91 uuu + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>i</TT> files to the +corresponding sections in the <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>MakeLists.txt</TT>! + +<P> +Additionally, MusE offers some custom widgets, like menu title items etc. +Following, there will be a small, unordered list about custom widgets: + +<UL> +<LI><TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGui::MenuTitleItem</TT>: Provides a title-bar in a <TT>fterfirstQ`Q=95 _ `Q=58 : + `Q>64 + `Q<91 QQQ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>Menu</TT>. +<BR> +Usage: <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>omeMenu->addAction(new MusEGui::MenuTitleItem(tr("fnord"), someMenu));</TT> +<BR> +Defined in <TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>idgets/menutitleitem.h</TT>. +</LI> +<LI><TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGui::PopupMenu</TT>: Provides a <TT>fterfirstQ`Q=95 _ `Q=58 : + `Q>64 + `Q<91 QQQ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>Menu</TT>-like menu which + can stay open after the user checks a checkable action. +<BR> +Usage: just create a <TT>fterfirstn`n=95 _ `n=58 : + `n>64 + `n<91 nnn + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ew PopupMenu( true|false )</TT> instead of + a <TT>fterfirstn`n=95 _ `n=58 : + `n>64 + `n<91 nnn + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ew QMenu()</TT>. (<TT>fterfirstt`t=95 _ `t=58 : + `t>64 + `t<91 ttt + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>rue</TT> means 'stay open') +<BR> +Defined in <TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>idgets/popupmenu.h</TT>. +</LI> +</UL> + +<P> + +<H1><A NAME="SECTION00220000000000000000"></A> <A NAME="portconfig_sucks"></A> +<BR> +Configuration +</H1> +Configuration is a bit pesky in MusE in its current state. If you get +confused by reading this chapter, that's a sign of a sane mind. + +<P> +There are three kinds of configuration items: + +<UL> +<LI>(1) Global configuration, like coloring schemes, plugin categories, MDI-ness settings +</LI> +<LI>(2) Per-Song configuration, like whether to show or hide certain track types in the arranger +</LI> +<LI>(3) Something in between, like MIDI port settings etc. They obviously actually are + global configuration issues (or ought to be), but also obviously must be stored + in the song file for portability. (This problem could possibly be solved by + the feature proposal in <A HREF="#symbolic_ports">3.7</A>. +</LI> +</UL> + +<P> + +<H4><A NAME="SECTION00220010000000000000"> +Reading configuration</A> +</H4> +<TT>fterfirstv`v=95 _ `v=58 : + `v>64 + `v<91 vvv + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>oid MusECore::readConfiguration(Xml&, bool, bool)</TT> in +<TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>onf.cpp</TT> is the central point +of reading configuration. It is called when MusE is started first +(by <TT>fterfirstb`b=95 _ `b=58 : + `b>64 + `b<91 bbb + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ool MusECore::readConfiguration()</TT>), and also when a +song is loaded. +<BR>It can be instructed whether to read MIDI ports (3), global configuration +and MIDI ports (1+3). Per-Song configuration is always read (2). + +<P> +When adding new configuration items and thus altering <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eadConfiguration()</TT>, +you must take care to place your item into the correct section. The code is +divided into the following sections: + +<UL> +<LI>Global and/or per-song configuration (3) +</LI> +<LI>Global configuration (1) +</LI> +<LI>Code for skipping obsolete entries +</LI> +</UL> + +<P> +The sections are divided by comments (they contain <TT>--</TT>, so just +search for them). Please do not just remove code for reading obsolete entries, +but always add an appropriate entry to the 'skipping' section in order to +prevent error messages when reading old configs. + +<P> + +<H4><A NAME="SECTION00220020000000000000"> +Writing configuration</A> +</H4> +Global configuration is written using the +<TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGui::MusE::writeGlobalConfiguration()</TT> functions, while +per-song-config is written by <TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGui::MusE::writeConfiguration()</TT> +(notice the missing <TT>fterfirstG`G=95 _ `G=58 : + `G>64 + `G<91 GGG + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>lobal</TT>; both implemented in <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>onf.cpp</TT>). + +<P> +<TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>riteConfiguration</TT> is actually just a subset of the code in +<TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>riteGlobalConfiguration</TT>. <SPAN CLASS="textbf">Duplicate code!</SPAN> +<P> + +<H4><A NAME="SECTION00220030000000000000"> +Song state</A> +</H4> +Additionally to per-song configuration, there is the song's state. +This contains "the song", that is all tracks, parts and note events, +together with information about the currently opened windows, their +position, size, settings and so on. Adding new items here is actually +pretty painless: Configuration is read and written using +<TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usECore::Song::read</TT> and <TT>fterfirst:`:=95 _ `:=58 : + `:>64 + `:<91 ::: + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>:write</TT>, both implemented in +<TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ongfile.cpp</TT>. There are no caveats. + +<P> + +<H4><A NAME="SECTION00220040000000000000"> +How to add new items</A> +</H4> +When adding global configuration items, then add them into the second +block ("global configuration") in <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eadConfiguration</TT> and into +<TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>riteGlobalConfiguration</TT>. + +<P> +When adding just-per-song items, better don't bother to touch the +"configuration" code and just add it to the song's state (there might +be rare exceptions). + +<P> +When adding global configuration items, make sure you add them into the +correct section of <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eadConfiguration</TT>, and into <TT>fterfirstw`w=95 _ `w=58 : + `w>64 + `w<91 www + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>riteGlobalConfiguration</TT>. + +<P> + +<H1><A NAME="SECTION00230000000000000000"> +User controls and automation</A> +</H1> + +<H2><A NAME="SECTION00231000000000000000"> +Handling user input</A> +</H2> + +<H3><A NAME="SECTION00231100000000000000"> +Plugins and synthesizers</A> +</H3> + +<H4><A NAME="SECTION00231110000000000000"> +Overview</A> +</H4> +When the user launches a plugin's GUI, either a MusE-window with +the relevant controls is shown, or the native GUI is launched. MusE +will communicate with this native GUI through OSC (Open Sound Control). +The relevant classes are <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginGui</TT>, <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginIBase</TT> +(in <TT>fterfirstp`p=95 _ `p=58 : + `p>64 + `p<91 ppp + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>lugin.h</TT>) and <TT>fterfirstO`O=95 _ `O=58 : + `O>64 + `O<91 OOO + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>scIF</TT> (in <TT>fterfirsto`o=95 _ `o=58 : + `o>64 + `o<91 ooo + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>sc.h</TT>). + +<P> +If the user changes a GUI element, first the corresponding control is +disabled, making MusE not steadily update it through automation +while the user operates it. Then MusE will update the plugin's parameter +value, and also record the new value. When appropriate, the controller +is enabled again. + +<P> + +<H4><A NAME="SECTION00231120000000000000"> +Processing the input, recording</A> +</H4> +Upon operating a slider, <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginIBase::setParam</TT> is called, +which usually writes the control change into the ringbuffer +<TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT>. (<TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::apply()</TT>, +<TT>fterfirstD`D=95 _ `D=58 : + `D>64 + `D<91 DDD + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ssiSynthIF::getData()</TT> will read this ringbuffer and +do the processing accordingly). Furthermore, <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::recordAutomation</TT> +is called, which either directly modifies the controller lists or writes +the change into a "to be recorded"-list (<TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::_recEvents</TT>) +(depending on whether the song is stopped or played). + +<P> +The <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::_recEvents</TT> list consists of <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlRecVal</TT> +items (see <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trl.h</TT>), which hold the following data: + +<UL> +<LI>the frame where the change occurred +</LI> +<LI>the value +</LI> +<LI>the type, which can be <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_START</TT>, <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_VAL</TT> or <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_STOP</TT>. + <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_VAL</TT> are written by every <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>udioTrack::recordAutomation</TT> + call, <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_START</TT> and <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_STOP</TT> are generated by + <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::startAutoRecord</TT> and <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>topAutoRecord</TT>, respectively. +</LI> +<LI>and the id of the controller which is affected +</LI> +</UL> +It is processed when the song is stopped. The call path for this is: +<TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::stopRolling</TT> calls <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::processAutomationEvents</TT> +calls <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::processAutomationEvents</TT>. +This function removes the old events from the track's controller list +and replaces them with the new events from <TT>fterfirst_`_=95 _ `_=58 : + `_>64 + `_<91 ___ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>recEvents</TT>. In +<TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_WRITE</TT> mode, just all controller events within the recorded +range are erased; in <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_TOUCH</TT> mode, the <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_START</TT> +and <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>RVT_STOP</TT> types of the <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlRecVal</TT> events are used +to determine the range(s) which should be wiped. + +<P> + +<H4><A NAME="SECTION00231130000000000000"> +How it's stored</A> +</H4> +Automation data is kept in <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::_controller</TT>, which is a <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlListList</TT>, that is, a list of <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT>s, that is, a list of lists of +controller-objects which hold the control points of the automation graph. +The <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT> also stores whether the list is meant discrete +(a new control point results in a value-jump) or continuous (a new control +point results in the value slowly sloping to the new value). +Furthermore, it stores a <TT>fterfirst_`_=95 _ `_=58 : + `_>64 + `_<91 ___ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>curVal</TT> (accessed by <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>urVal()</TT>), +which holds the currently active value, which can be different from the +actually stored value because of user interaction. This value is also +used when there is no stored automation data. + +<P> +<TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::addController</TT> and <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>emoveController</TT> are used to add/remove whole controller types; the most important functions which +access <TT>fterfirst_`_=95 _ `_=58 : + `_>64 + `_<91 ___ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>controller</TT> are: + +<UL> +<LI><TT>fterfirstp`p=95 _ `p=58 : + `p>64 + `p<91 ppp + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>rocessAutomationEvents</TT>, <TT>fterfirstr`r=95 _ `r=58 : + `r>64 + `r<91 rrr + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ecordAutomation</TT>, + <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>tartAutoRecord</TT>, <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>topAutoRecord</TT>: see above. +</LI> +<LI><TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eekPrevACEvent</TT>, <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>eekNextACEvent</TT>, <TT>fterfirste`e=95 _ `e=58 : + `e>64 + `e<91 eee + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>raseACEvent</TT>, + <TT>fterfirste`e=95 _ `e=58 : + `e>64 + `e<91 eee + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>raseRangeACEvents</TT>, <TT>fterfirsta`a=95 _ `a=58 : + `a>64 + `a<91 aaa + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ddACEvent</TT>, <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>hangeACEvent</TT>, + which do the obvious +</LI> +<LI><TT>fterfirstp`p=95 _ `p=58 : + `p>64 + `p<91 ppp + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginCtrlVal</TT>, <TT>fterfirsts`s=95 _ `s=58 : + `s>64 + `s<91 sss + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>etPluginCtrlVal</TT>: the first + returns the current value according to the <TT>fterfirst_`_=95 _ `_=58 : + `_>64 + `_<91 ___ + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>controller</TT> + list, the second only sets the <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>urVal</TT>, but does not + insert any events. +</LI> +</UL> + +<P> +Whenever a <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT> has been manipulated, +<TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGlobal::song->controllerChange(Track*)</TT> shall be called, +which emits the <TT>fterfirstM`M=95 _ `M=58 : + `M>64 + `M<91 MMM + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>usEGlobal::song->controllerChanged(Track*)</TT> +signal in order to inform any parts of MusE about the change (currently, +only the arranger's part canvas utilizes this). + +<P> + +<H4><A NAME="SECTION00231140000000000000"> +Enabling and disabling controllers</A> +</H4> +Disabling the controller is both dependent from the current automation +mode and from whether the GUI is native or not. +In <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_WRITE</TT> mode, once a slider is touched (for MusE-GUIs) or +once a OSC control change is received (for native GUIs), the control +is disabled until the song is stopped or seeked. + +<P> +In <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_TOUCH</TT> (and currently (r1492) <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_READ</TT>, but +that's to be fixed) mode, once a MusE-GUI's slider is pressed down, the +corresponding control is disabled. Once the slider is released, the +control is re-enabled again. Checkboxes remain in "disabled" mode, +however they only affect the recorded automation until the last toggle +of the checkbox. (Example: start the song, toggle the checkbox, toggle +it again, wait 10 seconds, stop the song. This will NOT overwrite the +last 10 seconds of automation data, but everything between the first +and the last toggle.). For native GUIs, this is a bit tricky, because +we don't have direct access to the GUI widgets. That is, we have no +way to find out whether the user doesn't touch a control at all, or +whether he has it held down, but just doesn't operate it. The current +behaviour for native GUIs is to behave like in <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_WRITE</TT> mode. + +<P> +The responsible functions are: <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::oscControl</TT> and +<TT>fterfirstD`D=95 _ `D=58 : + `D>64 + `D<91 DDD + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ssiSynthIF::oscControl</TT> for handling native GUIs, +<TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::ctrlPressed</TT> and <TT>fterfirstc`c=95 _ `c=58 : + `c>64 + `c<91 ccc + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlReleased</TT> for MusE +default GUIs and <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::guiParamPressed</TT>, +<TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiParamReleased</TT>, <TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiSliderPressed</TT> and +<TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiSliderReleased</TT> for MusE GUIs read from a UI file; +<TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiSlider*</TT> obviously handle sliders, while <TT>fterfirstg`g=95 _ `g=58 : + `g>64 + `g<91 ggg + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>uiParam*</TT> +handle everything else which is not a slider. They call +<TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::enableController</TT> to enable/disable it. + +<P> +Furthermore, on every song stop or seek, <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::enableAllControllers</TT> +is called, which re-enables all controllers again. The call paths for +this are: + +<UL> +<LI>For stop: <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::stopRolling</TT> calls + <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::processAutomationEvents</TT> calls + <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::clearRecAutomation</TT> calls + <TT>fterfirstT`T=95 _ `T=58 : + `T>64 + `T<91 TTT + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>rack::clearRecAutomation</TT> calls + <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::enableAllControllers</TT> +</LI> +<LI>For seek: <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udio::seek</TT> sends a message ("<TT>fterfirstG`G=95 _ `G=58 : + `G>64 + `G<91 GGG + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>></TT>") to + <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::seqSignal</TT> which calls + <TT>fterfirstS`S=95 _ `S=58 : + `S>64 + `S<91 SSS + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>ong::clearRecAutomation</TT> which calls + <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::enableAllControllers</TT> +</LI> +</UL> + +<P> + +<H1><A NAME="SECTION00300000000000000000"> +Design decisions</A> +</H1> + +<H1><A NAME="SECTION00310000000000000000"> +Automation</A> +</H1> +As of revision 1490, automation is handled in two ways: User-generated +(live) automation data (generated by the user moving sliders while playing) +is fed into <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT>. Automation data is kept +in <TT>fterfirstA`A=95 _ `A=58 : + `A>64 + `A<91 AAA + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>udioTrack::_controller</TT>, which is a <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlListList</TT>, +that is, a list of <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT>s, that is, a list of lists of +controller-objects which hold the control points of the automation graph. +The <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT> also stores whether the list is meant discrete +(a new control point results in a value-jump) or continous (a new control +point results in the value slowly sloping to the new value). + +<P> +While <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT> can be queried very quickly and +thus is processed with a very high resolution (only limited by the +minimum control period setting), the automation value are expensive to +query, and are only processed once in an audio <SPAN CLASS="textit">driver</SPAN> period. +This might lead to noticeable jumps in value. + +<P> +This could possibly be solved in two ways: + +<H4><A NAME="SECTION00310010000000000000"> +Maintaining a slave control list</A> +</H4> +This approach would maintain a fully redundant slave control list, +similar to <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT>. This list must be updated +every time any automation-related thing is changed, and shall contain +every controller change as a tuple of controller number and value. +This could be processed in the same loop as <TT>fterfirstP`P=95 _ `P=58 : + `P>64 + `P<91 PPP + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>luginI::_controlFifo</TT>, +making it comfortable to implement; furthermore, it allows to cleanly +offer automation-settings at other places in future (such as storing +automation data in parts or similar). + +<P> + +<H4><A NAME="SECTION00310020000000000000"> +Holding iterators</A> +</H4> +We also could hold a list of iterators of the single <TT>fterfirstC`C=95 _ `C=58 : + `C>64 + `C<91 CCC + + <`<=95 _ `<=58 : + `<>64 + `<<91 <<< + + c@amelhyph<269>>trlList</TT>s. +This would also cause low CPU usage, because usually, the iterators only +need to be incremented once. However, it is pretty complex to implement, +because the iterators may become totally wrong (because of a seek in the +song), and we must iterate through a whole list of iterators. + +<P> + +<H4><A NAME="SECTION00310030000000000000"> +Just use the current data access functions</A> +</H4> +By just using the current functions for accessing automation data, +we might get a quick-and-dirty solution, which however wastes way too +much CPU ressources. This is because on <SPAN CLASS="textit">every single frame</SPAN>, we +need to do a binary search on multiple controller lists. + +<P> + +<H1><A NAME="SECTION00400000000000000000"> +Feature requests</A> +</H1> + +<H1><A NAME="SECTION00410000000000000000"> +Per-Part automation and more on automation</A> +</H1> Automation shall be undo-able. Automation shall reside in parts which +are exchangeable, clonable etc (like the MIDI- and Wave-Parts). +Global per-synth/per-audiotrack automation shall also be available, but +this can also be implemented as special case of part automation (one +long part). + +<P> + +<H1><A NAME="SECTION00420000000000000000"> +Pre-Rendering tracks</A> +</H1> + +<H2><A NAME="SECTION00421000000000000000"> +The feature</A> +</H2> +All tracks shall be able to be "pre-renderable". Pre-rendering shall +be "layered". Pre-rendering shall act like a transparent audio cache: +Audio data is (redundantly) stored, wasting memory in order to save CPU. + +<P> +That is: Each track owns one or more wave-recordings of the length of +the song. If the user calls "pre-render" on a track, then this track +is played quasi-solo (see below), and the raw audio data is recorded +and stored in the "layer 0" wave recording. If the user has any effects +set up to be applied, then each effect is applied on a different layer +(creating layer 1, layer 2 etc). + +<P> +This means, that also MIDI and drum tracks can have effects (which +usually only operate on audio, but we HAVE audio data because of this +prerendering). + +<P> +Furthermore, MusE by default does not send MIDI events to the synthesizers +but instead just plays back the last layer of the prerecording (for +MIDI tracks), or does not pipe the audio data through the whole plugin +chain (causing cpu usage), but instead just plays back the last layer. +The hearable result shall be the same. + +<P> +Once the user changes any parameter (automation data or plugins for +wave tracks, MIDI events or effect plugin stuff for MIDI tracks), +then MusE shall generate the sound for this particular track in the +"old" way (send MIDI data to synthes, or pipe audio data through plugins). +(So that the user will not even notice that MusE actually pre-renderered +stuff.) Either MusE automatically records this while playback (if possible) +or prompts the user to accordingly set up his cabling and then record +it. Or (temporarily) disables prerecording for this track, falling back +to the plain old way of generating sound. + +<P> +<SPAN CLASS="textit">Quasi-solo</SPAN> means: For wave tracks, just solo the track. For MIDI +tracks, mute all tracks which are not on the same synth (channel?), +and mute all <SPAN CLASS="textit">note</SPAN> events which are not on the quasi-soloed track. +This causes MusE to still play any controller events from different +tracks, because they might have effects on the quasi-soloed track. (You +can have notes on channel 1 on one track and controller stuff on channel +1 on another track; then you would need quasi-solo to get proper results.) + +<P> + +<H2><A NAME="SECTION00422000000000000000"> +Use cases</A> +</H2> + +<H4><A NAME="SECTION00422010000000000000"> +Saving CPU</A> +</H4> +On slow systems, this is neccessary for songs with lots of, or demanding +(or both) soft synthes / plugins. Even if the synth or plugin is so +demanding that your system is not able to produce sound in real-time, +then with this feature you'll be able to use the synth (this will make +editing pretty laggish, because for a change you need to re-render at +least a part before you can listen to it, but better than being unable +to use the synth at all!) + +<P> + +<H4><A NAME="SECTION00422020000000000000"> +Exporting as audio project</A> +</H4> +Using pre-rendering on all tracks, you easily can export your project +as multi-track audio file (for use with Ardour or similar DAWs). +Just take the last layer of each track, and write the raw audio data +into the file, and you're done. (Maybe we are even able to write down +the raw-raw layer0 audio data plus information about used plugins and +settings etc..?) + +<P> + +<H4><A NAME="SECTION00422030000000000000"> +Mobile audio workstations</A> +</H4> +You might want to work a bit on your audio projects on your notebook +while you're not at home, not having access to your hardware synthesizers. +Using this feature, you could have pre-recorded the stuff in your studio +before, and now can at least fiddle around with the non-hw-synth-dependent +parts of your song, while still having your <SPAN CLASS="textit">full</SPAN> song with you. + +<P> + +<H4><A NAME="SECTION00422040000000000000"> +Applying effects on MIDI tracks</A> +</H4> +If you have many physical audio inputs, you might already be able to +apply effect chains on MIDI tracks, by wiring the synthes' audio +outputs to your soundcard's inputs, and applying the effects on +dedicated input tracks you have to create. This requires you to have +expensive hardware, and is pretty complicated, because you need one +additional track per MIDI synth. + +<P> +This feature allows you to apply effects on single MIDI tracks, and not +only on full MIDI synthes, and doesn't require you to be have that +many physical audio inputs (you need to manually replug your synthes, +however). + +<P> + +<H2><A NAME="SECTION00423000000000000000"> +Possible scenarios</A> +</H2> + +<H4><A NAME="SECTION00423010000000000000"> +Setting it up</A> +</H4> +Create a wave track, MusE will allow you to set or unset prerendering +for every plugin in the plugin rack (recording the actual track is +useless because it would be a plain copy). +Create a MIDI track, MusE will ask you on which physical audio input +your synth is connected. Setting up multiple synthes on one physical +audio in is allowed, see below. + +<P> + +<H4><A NAME="SECTION00423020000000000000"> +Pre-rendering stuff</A> +</H4> +When the user presses the "pre-render" button, all tracks which have +been changed since their last pre-rendering will be re-rendered. +If you have multiple hardware synthes set up as they were connected +to one physical audio input port, MusE will prompt you to first plug +the proper cable in. + +<P> + +<H4><A NAME="SECTION00423030000000000000"> +Making changes</A> +</H4> +Change a note in a MIDI part, move or delete a part or change automation +parameters. MusE will temporarily disable the pre-rendered information +and instead generate the sound via sending out MIDI events, piping stuff +through effect chains or similar. If you play back the whole song, or +if you manually trigger a re-rendering of a track via the context menu, +MusE will play back the stuff, record it again and re-enable the +pre-rendered information. + +<P> + +<H2><A NAME="SECTION00424000000000000000"> +Extensions</A> +</H2> + +<H4><A NAME="SECTION00424010000000000000"> +Automatic discovery of physical audio connections</A> +</H4> +The user plugs all (or only some) synthes' audio outs into the available +audio inputs, then runs automatic discovery. This will send MIDI events +to each synthesizer, and look on which audio in there's activity. Then +it will assume that the synthesizer is connected to that particular +audio in. Audio ins which show activity before any MIDI events were +sent are not considered, as they're probably connected to microphones +or other noise-generating non-synthes. + +<P> + +<H4><A NAME="SECTION00424020000000000000"> +Audio export</A> +</H4> +As described in the Use cases, MusE can allow you to export your song +in some multitrack audio format. + +<P> + +<H4><A NAME="SECTION00424030000000000000"> +Cheap/Faked changes</A> +</H4> +For expensive or unavailable synthes, changing the Volume midi controller, +the Pan controller or similar "easy" controllers will not trigger a +complete re-rendering, but instead "fake" the change, by changing +the volume data directly on the recorded wave. This might require some +learning and might even get pretty complicated. + +<P> + +<H4><A NAME="SECTION00424040000000000000"> +Intelligent re-recording</A> +</H4> +For tiny changes, MusE shall only re-render the relevant part. If you +change some MIDI notes, then begin re-recording shortly before the +changes, and end re-recording as soon as the recorded stuff doesn't +differ to much from the stuff coming from the synth. Then properly +blend the old recording with the updated part. + +<P> + +<H1><A NAME="SECTION00430000000000000000"> +Slotted editors</A> +</H1> +Currently, MusE has the pianoroll editor, drum editor, score editor, +then the controller editor which is inside the pianoroll/drum editor. +All these editors have a very similar concept: the "time axis" is +vertical and (almost) linear, they handle parts, and events are +manipulated similarly. + +<P> +A unified editor shall be created which allows you to combine different +kinds of editors in one window, properly aligned against each other. +These "different kinds of editors" shall be handled as "slots"; one +unified editor window consists of: + +<UL> +<LI>A menu bar, containing stuff suitable for the complete window, + which might include window name, MDI-ness etc. +</LI> +<LI>A toolbar which contains controls suitable for every single slot. +</LI> +<LI>A container with one or more slots; the slots can be scrolled in + y-direction if there are multipe slots. +</LI> +<LI>A time-scrollbar with zoom +</LI> +</UL> + +<P> +Each slot contains the following: + +<UL> +<LI>A menu button, button box or control panel for setting up this + particular slot. This could contain "note head colors", "show + a transposing instrument" etc for score edit slots, "event + rectangle color", "grid size" and "snap to grid" for pianoroll/ + drum editors. +</LI> +<LI>The actual canvas +</LI> +<LI>A y-direction scroll bar, possibly with zoom control (for + pianoroll editor) +</LI> +</UL> + +<P> +The main window does not show its scroll bar if there is only one slot, +because the slot's scrollbar is sufficient then. + +<P> +Slots can be added, destroyed, moved around, maybe even merged (if the +slot types allow it); basically, you can compare them with the staves +in the score editor. + +<P> +The slots shall align against each other, that is, if a score editor +slot displays a key change with lots of accidentials, then all other +slots shall either also display the key change (if they're score slots) +or display a gap. Events which happen at the same time shall be at the +same x-coordinate, regardless which slot they are. + +<P> + +<H1><A NAME="SECTION00440000000000000000"> +Controller master values</A> +</H1> +All controllers (MIDI-controllers and also automation controllers) +shall have one set of "master values" which allow you to set a gain and +a bias. Instead of the actual set value, <!-- MATH + $\textrm{value} * \textrm{bias} ++ textrm{bias}$ + --> +<SPAN CLASS="MATH"><IMG + WIDTH="180" HEIGHT="30" ALIGN="MIDDLE" BORDER="0" + SRC="img1.png" + ALT="$\textrm{value} * \textrm{bias} ++ textrm{bias}$"></SPAN> shall be sent to the MIDI device / the plugin. For +controllers like "pan", the unbiased values shall be transformed, that +is, a pan of 64, with <!-- MATH + $\textrm{bias}=2$ + --> +<SPAN CLASS="MATH"><IMG + WIDTH="61" HEIGHT="15" ALIGN="BOTTOM" BORDER="0" + SRC="img2.png" + ALT="$\textrm{bias}=2$"></SPAN> and <!-- MATH + $\textrm{gain}=0.5$ + --> +<SPAN CLASS="MATH"><IMG + WIDTH="75" HEIGHT="30" ALIGN="MIDDLE" BORDER="0" + SRC="img3.png" + ALT="$\textrm{gain}=0.5$"></SPAN>, shall +be transformed to 66 (because 64 is actually 0, while 0 is actually -64). +These values shall be set in the arranger and whereever the actual +controller/automation values can be edited. + +<P> + +<H1><A NAME="SECTION00450000000000000000"> +Enabled-indicator while recording</A> +</H1> +The MusE-plugin-GUIs shall display a small LED displaying whether a +controller is currently enabled or disabled. By clicking this LED, the +enabled state shall be switched. + +<P> +Furthermore, there shall be a dedicated window which only lets you switch +enabled/disabled states. This will be useful when using external GUIs +or the MIDI-controller-to-automation feature, to re-enable a controller +when in <TT>fterfirstA`A=95 _ `A=58 : A + <`<=95 _ `<=58 : < + u@nderscorehyph<271>>UTO_TOUCH</TT> mode. + +<P> + +<H1><A NAME="SECTION00460000000000000000"> +Linear automation editing</A> +</H1> +While holding some modifier key (like shift), operating the MusE-native- +GUI sliders shall only generate control points when clicking and when +releasing the slider. This will result in linear graphs for continous +controllers, and in large steps for discrete controllers (which is in +particular useful for stuff like "which low/high-pass filter type to use"). + +<P> +Maybe make this behaviour default for discrete controllers? + +<P> + +<H1><A NAME="SECTION00470000000000000000"></A> <A NAME="symbolic_ports"></A> +<BR> +Symbolic names for MIDI ports +</H1> +MIDI ports shall have a user-defined symbolic name (like "Korg" or "Yamaha DX 7"). +The mapping between these symbolic names and the hardware port (like +"ALSA midi out port") is stored in the global configuration. + +<P> +Song files only specify the symbolic names as the ports associated with +their tracks. No information about physical devices/port names, but only +symbolic names are stored in the song file. + +<P> +This resolves the issues mentioned in <A HREF="#portconfig_sucks">1.2</A>, and also +allows the user to share his pieces with other people: They would only +have to set up that symbolic-to-hardware mapping once (collisions are +unlikely, because an equal symbolic name should usually mean the same +device) and are happy, instead of having to re-map <SPAN CLASS="textit">every</SPAN> port +for <SPAN CLASS="textit">every</SPAN> song. + +<P> +<BR><HR> + +</BODY> +</HTML> diff --git a/muse2/doc/html/single/documentation/arrow_tool.png b/muse2/doc/html/single/documentation/arrow_tool.png Binary files differnew file mode 100644 index 00000000..1ae872fb --- /dev/null +++ b/muse2/doc/html/single/documentation/arrow_tool.png diff --git a/muse2/doc/html/single/documentation/documentation.css b/muse2/doc/html/single/documentation/documentation.css new file mode 100644 index 00000000..17bee66c --- /dev/null +++ b/muse2/doc/html/single/documentation/documentation.css @@ -0,0 +1,35 @@ +/* Century Schoolbook font is very similar to Computer Modern Math: cmmi */ +.MATH { font-family: "Century Schoolbook", serif; } +.MATH I { font-family: "Century Schoolbook", serif; font-style: italic } +.BOLDMATH { font-family: "Century Schoolbook", serif; font-weight: bold } + +/* implement both fixed-size and relative sizes */ +SMALL.XTINY { font-size : xx-small } +SMALL.TINY { font-size : x-small } +SMALL.SCRIPTSIZE { font-size : smaller } +SMALL.FOOTNOTESIZE { font-size : small } +SMALL.SMALL { } +BIG.LARGE { } +BIG.XLARGE { font-size : large } +BIG.XXLARGE { font-size : x-large } +BIG.HUGE { font-size : larger } +BIG.XHUGE { font-size : xx-large } + +/* heading styles */ +H1 { } +H2 { } +H3 { } +H4 { } +H5 { } + +/* mathematics styles */ +DIV.displaymath { } /* math displays */ +TD.eqno { } /* equation-number cells */ + + +/* document-specific styles come next */ +DIV.navigation { } +DIV.center { } +SPAN.textit { font-style: italic } +SPAN.arabic { } +SPAN.textbf { font-weight: bold } diff --git a/muse2/doc/html/single/documentation/documentation.html b/muse2/doc/html/single/documentation/documentation.html new file mode 100644 index 00000000..b24ff0be --- /dev/null +++ b/muse2/doc/html/single/documentation/documentation.html @@ -0,0 +1,1702 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> + +<!--Converted with LaTeX2HTML 2008 (1.71) +original version by: Nikos Drakos, CBLU, University of Leeds +* revised and updated by: Marcus Hennecke, Ross Moore, Herb Swan +* with significant contributions from: + Jens Lippmann, Marek Rouchal, Martin Wilck and others --> +<HTML> +<HEAD> +<TITLE>MusE Documentation</TITLE> +<META NAME="description" CONTENT="MusE Documentation"> +<META NAME="keywords" CONTENT="documentation"> +<META NAME="resource-type" CONTENT="document"> +<META NAME="distribution" CONTENT="global"> + +<META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=utf-8"> +<META NAME="Generator" CONTENT="LaTeX2HTML v2008"> +<META HTTP-EQUIV="Content-Style-Type" CONTENT="text/css"> + +<LINK REL="STYLESHEET" HREF="documentation.css"> + +</HEAD> + +<BODY > + +<DIV ALIGN="CENTER"> + +<P><A NAME="fig:MusE"></A></P> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="1030" HEIGHT="722" ALIGN="BOTTOM" BORDER="0" + SRC="./muse2.png" + ALT="Image muse2"> + +</DIV> +<BR> + +<H2><A NAME="SECTION00100000000000000000"> +Contents</A> +</H2> +<!--Table of Contents--> + +<UL CLASS="TofC"> +<LI><A NAME="tex2html67" + HREF="documentation.html#SECTION00200000000000000000">What is this?</A> +<LI><A NAME="tex2html68" + HREF="documentation.html#SECTION00300000000000000000">User's manual</A> +<UL> +<LI><A NAME="tex2html69" + HREF="documentation.html#SECTION00310000000000000000">Introduction</A> +<UL> +<LI><A NAME="tex2html70" + HREF="documentation.html#SECTION00311000000000000000">A brief history of computer audio and MusE</A> +<LI><A NAME="tex2html71" + HREF="documentation.html#SECTION00312000000000000000">Definitions</A> +<LI><A NAME="tex2html72" + HREF="documentation.html#SECTION00313000000000000000">Getting up and running for impatient people</A> +<LI><A NAME="tex2html73" + HREF="documentation.html#SECTION00314000000000000000">Getting up and running</A> +<LI><A NAME="tex2html74" + HREF="documentation.html#SECTION00315000000000000000">Beginners tutorial</A> +</UL> +<LI><A NAME="tex2html75" + HREF="documentation.html#SECTION00320000000000000000">Basic overview</A> +<UL> +<LI><A NAME="tex2html76" + HREF="documentation.html#SECTION00321000000000000000">Main/Arranger</A> +<LI><A NAME="tex2html77" + HREF="documentation.html#SECTION00322000000000000000">Mixer</A> +</UL> +<LI><A NAME="tex2html78" + HREF="documentation.html#SECTION00330000000000000000">Tracks and parts</A> +<UL> +<LI><A NAME="tex2html79" + HREF="documentation.html#SECTION00331000000000000000">Tracks</A> +<LI><A NAME="tex2html80" + HREF="documentation.html#SECTION00332000000000000000">Parts</A> +</UL> +<LI><A NAME="tex2html81" + HREF="documentation.html#SECTION00340000000000000000">Routes</A> +<UL> +<LI><A NAME="tex2html82" + HREF="documentation.html#SECTION00341000000000000000">Anti circular routing</A> +<LI><A NAME="tex2html83" + HREF="documentation.html#SECTION00342000000000000000">Soloing chain routes</A> +</UL> +<LI><A NAME="tex2html84" + HREF="documentation.html#SECTION00350000000000000000">Track soloing</A> +<UL> +<LI><A NAME="tex2html85" + HREF="documentation.html#SECTION00351000000000000000">Phantom soloing</A> +<LI><A NAME="tex2html86" + HREF="documentation.html#SECTION00352000000000000000">Soloing chains</A> +</UL> +<LI><A NAME="tex2html87" + HREF="documentation.html#SECTION00360000000000000000">Plugins</A> +<UL> +<LI><A NAME="tex2html88" + HREF="documentation.html#SECTION00361000000000000000">The audio effects rack</A> +</UL> +<LI><A NAME="tex2html89" + HREF="documentation.html#SECTION00370000000000000000">Automation</A> +<UL> +<LI><A NAME="tex2html90" + HREF="documentation.html#SECTION00371000000000000000">Audio automation</A> +<LI><A NAME="tex2html91" + HREF="documentation.html#SECTION00372000000000000000">Midi automation</A> +</UL> +<LI><A NAME="tex2html92" + HREF="documentation.html#SECTION00380000000000000000">Configuration</A> +<UL> +<LI><A NAME="tex2html93" + HREF="documentation.html#SECTION00381000000000000000">MIDI ports</A> +<LI><A NAME="tex2html94" + HREF="documentation.html#SECTION00382000000000000000">Global settings</A> +</UL> +</UL> +<BR> +<LI><A NAME="tex2html95" + HREF="documentation.html#SECTION00400000000000000000">Appendix</A> +<UL> +<LI><A NAME="tex2html96" + HREF="documentation.html#SECTION00410000000000000000">Understanding the effects rack</A> +</UL></UL> +<!--End of Table of Contents--> +<H1><A NAME="SECTION00200000000000000000"> +What is this?</A> +</H1> +You are, if you have printed this document, holding in your hand the +written documentation for the audio and midi sequencer MusE version 2. +<BR><TT><A NAME="tex2html1" + HREF="http://www.muse-sequencer.org">http://www.muse-sequencer.org</A></TT> is MusE's home on the internet where +everything MusE releated should be possible to find, software, this +documentation, forums, mailing lists, bug reporting, FAQs. If you have +this document but not the software head on over there to find what it's +all about. + +<H1><A NAME="SECTION00300000000000000000"> +User's manual</A> +</H1> + +<P> + +<H1><A NAME="SECTION00310000000000000000"> +Introduction</A> +</H1> + +<H2><A NAME="SECTION00311000000000000000"> +A brief history of computer audio and MusE</A> +</H2> +To quickly summarize over a decades open source development: in 1999 Werner + Schweer released the first version of MusE, muse-0.0.1.tar.gz, in it's first +few releases (actually not few, Werner relentlessly churned out new releases) +MusE was only a midi sequencer. The target was to create a fully fledged +midi sequencer for the Linux operating system. Over the years audio was +added among with other things implemented and sometimes abandoned. +Today MusE is a stable and feature rich music creation environment which +strives to encompass most of the music recording process, creation, editing, +mastering. + +<P> + +<H2><A NAME="SECTION00312000000000000000"> +Definitions</A> +</H2> +<SPAN CLASS="textbf">CTRL</SPAN> refers to the control key on the keyboard, e.g. <SPAN CLASS="textbf">CTRL+C</SPAN> +means to press and hold the control key while pressing the c key. Make sure +you know where you have it so you won't accidentally lose control +(bad jokes are the best jokes, so say we all!). +<BR><SPAN CLASS="textbf">SHIFT</SPAN> refers to the shift key on the keyboard, see above for usage +<BR><SPAN CLASS="textbf">ALT</SPAN> refers to the alt key on the keyboard, see above for usage +<BR><TT><SPAN CLASS="textbf">$></SPAN></TT> is used as a generic definition for a terminal prompt. When the +manual lists a command that shall be typed, the prompt is not part of the +command. +<BR> +Keys are always referred to in bold uppercase, e.g. <SPAN CLASS="textbf">A</SPAN>. For instance +<SPAN CLASS="textbf">SHIFT+A</SPAN> for the key a pressed together with the shift key. +<BR> +Sometimes terminal examples are written tabbed in with a fixed font to +visualize more closely what something looks like on the screen. +E.g. +<BR> <TT><SPAN CLASS="textbf">$> muse2</SPAN></TT> +<BR> +<P> + +<H2><A NAME="SECTION00313000000000000000"> +Getting up and running for impatient people</A> +</H2> +Install MusE from the repository of your chosen distribution. +To get decent performance start http://jackaudio.org/Jack with +the following command in a terminal: +<BR> <TT><SPAN CLASS="textbf">$> jackd -d alsa -d hw:0 -p 256</SPAN></TT> +<BR> +Or, if you prefer, use the launcher utility +http://qjackctl.sourceforge.net/QJackCtl to get some +help starting Jack. +After this, start MusE from the menu or fire up another terminal and +type + +<P> +<TT><SPAN CLASS="textbf">muse2</SPAN></TT>. +<BR> +If this didn't work out read on for the slightly more complete route for +getting things started. + +<P> + +<H2><A NAME="SECTION00314000000000000000"> +Getting up and running</A> +</H2> + +<H3><A NAME="SECTION00314100000000000000"> +Installation from binaries</A> +</H3> +There are several ways to install MusE depending on your situation. The +most convenient way is to install a prepackaged version from your chosen +distribution. The drawback of this is that it may not be the most recent +version, though often there is a more recent package from a private packager. + +<H3><A NAME="SECTION00314200000000000000"> +Installation from source</A> +</H3> +Building MusE from source is not hard, there are a number of prerequistes +that must be met but the actual building should be painless (ha, famous +last words). +<BR> +Please follow the README in the source package and/or read the instructions +on the homepage: <TT><A NAME="tex2html2" + HREF="http://muse-sequencer.org/index.php/Installation">http://muse-sequencer.org/index.php/Installation</A></TT> +<P> + +<H3><A NAME="SECTION00314300000000000000"> +Hardware</A> +</H3> +MusE on the Linux platform supports midi through ALSA and Jack-midi and audio +through Jack. For information on what hardware is supported there are some +convenient places to check: + +<UL> +<LI>Alsa soundcard matrix at +<TT><A NAME="tex2html3" + HREF="http://www.alsa-project.org/main/index.php/Matrix:Main">http://www.alsa-project.org/main/index.php/Matrix:Main</A></TT> +</LI> +<LI><TT><A NAME="tex2html4" + HREF="http://FFADO.org">http://FFADO.org</A></TT> for firewire devices. +</LI> +</UL> +Also, as is often a very good approach for Linux and open source, the +various forums available on the internet often contain good information. +Chances are someone has already tried your configuration and/or had your +specific problem and the solution is already written down. + +<H3><A NAME="SECTION00314400000000000000"> +Launching</A> +</H3> +After installation the binary muse2 is installed on the computer. If MusE +was installed from a distribution repository the binary may have a +different name depending on the distribution policies. Most distributions +do however install a menu entry so MusE should be conveniently available +from there. + +<H3><A NAME="SECTION00314500000000000000"> +Audio preconditions</A> +</H3> +In the standard case MusE expects to find and connect to the Jack audio +server <TT><A NAME="tex2html5" + HREF="http://jackaudio.org">http://jackaudio.org</A></TT>. Make sure jack is installed (if MusE was +installed with a distribution-package Jack will very likely already be +installed) For Jack to run with best performance your system should be +sufficiently tuned to allow it to run with realtime capabilities. The +realtime configuration is configuration of the operating system and roughly +consists of two parts. + +<OL> +<LI>By default on most distros only the superuser lets applications setup +realtime capabilities. Please see the APPENDIX for setting up realtime +</LI> +<LI>Maximizing performance. A standard linux installation may not able +to reach the performance required by a power user. This requires exchanging +the linux kernel for a so called lowlatency kernel, this is also covered by +the realtime APPENDIX. +</LI> +</OL> + +<P> + +<H3><A NAME="SECTION00314600000000000000"> +Running MusE</A> +</H3> +Find MusE in the menu or open a terminal and enter muse2. + +<P> +<TT><SPAN CLASS="textbf">$> muse2</SPAN></TT> +<BR> +A splash screen should pop up followed +by the main application window and you are off! +<BR> +If an error like the screenshot below pops up the Jack audio server is +either not running or started as a different user than what you are trying +to start MusE as. + +<DIV ALIGN="CENTER"><A NAME="fig:no_audio"></A><A NAME="101"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.1:</STRONG> +Jack server missing</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="506" HEIGHT="178" ALIGN="BOTTOM" BORDER="0" + SRC="./no_audio.png" + ALT="Image no_audio"></TD></TR> +</TABLE> +</DIV> + +<H3><A NAME="SECTION00314700000000000000"> +Midi only</A> +</H3> +MusE can be started in Midi-only mode where MusE does not have any external +dependencies apart from ALSA midi. In this case start MusE from a terminal: +<TT><SPAN CLASS="textbf">$> muse2 -a</SPAN></TT> + +<P> + +<H3><A NAME="SECTION00314800000000000000"> +ALSA midi with Jack</A> +</H3> +If Jack is running, by default MusE will not use ALSA devices, preferring +Jack midi instead. To force ALSA devices to be used as well as Jack +midi, start MusE with the -A option: <TT><SPAN CLASS="textbf">$> muse2 -A</SPAN></TT> + +<P> + +<H2><A NAME="SECTION00315000000000000000"> +Beginners tutorial</A> +</H2> +To get a quick grip of what MusE can achieve please follow this beginners +tutorial. + +<H3><A NAME="SECTION00315100000000000000"> +Midi Setup</A> +</H3> +First off, fire up MusE as was described in the previous chapter, making +sure that the jack audio server is started with sufficient configuration +to allow for audio output without breakup. Also make sure your system can +make sound. + +<H3><A NAME="SECTION00315200000000000000"> +Soft synth test</A> +</H3> +With MusE up and running right click in the Track-pane (see +Fig. <A HREF="#fig:Main_Window">2.8</A>) and select +<SPAN CLASS="textbf">Add Synth > MESS > vam soft synth</SPAN>. +A Soft Synth track called vam-0 should appear as well as a separate GUI +for the synthesizer. + +<P> +Now right click once more in the Track-pane and select <SPAN CLASS="textbf">Add Midi +Track</SPAN>. Another track appears called Track 1, and its track list Port +column should show it is bound to the synth that was just created vam-0. +If it is not, click on the Track 1 Port column to open a drop-down list +of available devices and choose vam-0. + +<P> + +<DIV ALIGN="CENTER"> +r0.05 +<IMG + WIDTH="23" HEIGHT="23" ALIGN="BOTTOM" BORDER="0" + SRC="./arrow_tool.png" + ALT="Image arrow_tool"> + +</DIV> +Now select the drawing tool icon +from the toolbar, alternatively press the shortcut key <SPAN CLASS="textbf">D</SPAN>. +Move the mouse over to the arranger canvas as referenced in +Fig. <A HREF="#fig:Main_Window">2.8</A> +and point at the midi track, the mouse should have changed to a small pencil. +Draw a Part along the midi track using the mouse. For this exercise it is +not important where or how large the drawn Part is. When you are done double +click on the drawn part. This will open up the Piano Roll editor. To the +left of the Piano Roll there are piano keys in a vertical line, try clicking +on the keys in this virtual keyboard each click should be rewarded with a +synth sound (maybe of questionable quality, a sound nevertheless) + +<DIV ALIGN="CENTER"><A NAME="fig:vam_synth"></A><A NAME="123"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.2:</STRONG> +vam synthesizer</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="750" HEIGHT="560" ALIGN="BOTTOM" BORDER="0" + SRC="./vam_synth.png" + ALT="Image vam_synth"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H3><A NAME="SECTION00315300000000000000"> +Missing sound</A> +</H3> +If you got sound from the previous exercise you can carry on to the next, +or keep reading for further enlightenment in case you come upon trouble +later on. If there is no sound we need to do some fault hunting. First +off, click on Arranger window once more and select the vam-0 track in the +track-pane. + +<DIV ALIGN="CENTER"><A NAME="fig:Midi_editor"></A><A NAME="129"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.3:</STRONG> +Midi editor view</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="914" HEIGHT="679" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_with_midi_editor_vam.png" + ALT="Image main_window_with_midi_editor_vam"></TD></TR> +</TABLE> +</DIV> +Now bring back Piano Roll window and align the windows so you +can see the piano keys as well as the Meter on the Mixer Strip (see the +5 Function by function chapter for more information on these windows). +The result should be something like the following: + +<P> +When pressing one of the keys on virtual Keyboard the Meter on the Mixer +Strip should light up in green to visualize that the Synth is making +sound, if it is not try to trace back your steps and and see if you did +anything differently than described. +Now, if the Meter lights up but there is still no sound we need to +check the routing between the tracks. Click on the Arranger window again +and select the Out 1 track, this is the predefined output which MusE by +default loads at startup, at the bottom of Mixer Strip there are two +buttons looking like tele- jacks, these bring up the inputs and outputs +of the track, click on the right one, the output and make sure that it is +connected to some valid outputs on your system. + +<DIV ALIGN="CENTER"> +r0.25 +<IMG + WIDTH="231" HEIGHT="318" ALIGN="BOTTOM" BORDER="0" + SRC="./output_routing.png" + ALT="Image output_routing"> + +</DIV> +Click on the outputs to select them, if you did changes here go back and +try clicking on the Piano Roll keyboard again, hopefully it helped. If there +still are problems make sure your system actually can make sound through +Jack, this is however getting outside the scope of this manual. +<BR> +<BR><SPAN CLASS="textit">This might be the time to bring up the concept of community support. +Open source software could never be what it is without the support given by +individuals on forums and mailinglists, if the information given in this +document is not enough, try googling your problem and/or get in touch with +one of the online forums for MusE or Linux audio in general. See some pointers +in the Support chapter.</SPAN> + +<P> + +<H3><A NAME="SECTION00315400000000000000"> +Recording Midi</A> +</H3> TBD + +<H3><A NAME="SECTION00315500000000000000"> +Recording Audio</A> +</H3> +At this point we'll make a a slight detour into full on audio recording. Getting +audio out of MusE has already been covered in the previous chapters so we will +concentrate on the additional steps needed to record onto an audio track. +<BR> +<BR> +When MusE is first fired up, the +output track has already been created (more about this in the chapter about +templates), to proceed with audio recording we need to add two additional tracks, a +wave track and an input track. +<BR> +When MusE is first started right click in an empty space on the track view + +<DIV ALIGN="CENTER"><A NAME="fig:Add_track"></A><A NAME="142"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.4:</STRONG> +Add track</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="782" HEIGHT="498" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_add_track.png" + ALT="Image main_window_add_track"></TD></TR> +</TABLE> +</DIV> +and select <SPAN CLASS="textbf">Add Audio Input</SPAN>. Right click again and also select +<SPAN CLASS="textbf">Add Wave Track</SPAN>. Two additional tracks are now visible in the Arranger, +"Input 1" and "Track 1", bring up the mixer with <SPAN CLASS="textbf">F10</SPAN> and you should see +the following configuration. + +<DIV ALIGN="CENTER"><A NAME="fig:Mixer_with_one_input"></A><A NAME="150"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.5:</STRONG> +Mixer with one input</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="216" HEIGHT="418" ALIGN="BOTTOM" BORDER="0" + SRC="./mixer_with_one_input.png" + ALT="Image mixer_with_one_input"></TD></TR> +</TABLE> +</DIV> + +<BR> +Note the buttons on each mixer strip. hover over them to see their +functionality. For more information on all the buttons see coming chapters +about the mixer. For now lets just do what we must. +<BR> +1. click on the stereo symbol over the slider to change the input to a mono track. +<BR> +2. do the same for the wave track (optional) +<BR> +3. click on the Mute (gray speaker) icon on the input track to unmute it. +<BR> +4. click on the input routing button (see the tooltip, it looks like a tele plug) +on the input track and select an appropriate connection from your system. +<BR> +5. click on the output routing button on the input track and select +<SPAN CLASS="textbf">Track 1</SPAN> +<BR> +<BR> +Already after the meter on the input track should be able to display that there +is incoming sound from your sound source. If there actually is sound coming +from your sound source, that is. +<BR> +We are now nearly ready to start recording. First we need to select a location +to store the files. MusE does not use a centralized storage of soundfiles but +uses the path of the song-file (extension .med) as guidance as to where the +audio files should be placed. Now as it happens MusE will prohibit us from +starting a recording until the songfile has been stored. So lets take advantage +of this behaviour and just go ahead and try to record. Let's get started. +<BR> +In the mixer click on the red <SPAN CLASS="textbf">record</SPAN> dot on the Audio Track to arm it +for recording (or enable if you will). Now when there is audio coming into the +input it will also show up on the Audio Track. Also note that all the input and +output routing buttons on the tracks now have the same gray color, this means +that all of the tracks have a proper connection. + +<DIV ALIGN="CENTER"><A NAME="fig:Mixer_buttons"></A><A NAME="157"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.6:</STRONG> +Mixer buttons</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="217" HEIGHT="166" ALIGN="BOTTOM" BORDER="0" + SRC="./mixer_with_one_input_buttons.png" + ALT="Image mixer_with_one_input_buttons"></TD></TR> +</TABLE> +</DIV> + +<BR> +All fine and dandy. Now bring up the arranger window and find the round, red on +white <SPAN CLASS="textbf">record</SPAN> button and click on it. This is your queue to MusE to +prepare for recording. However since we have not saved our song we are presented +with a dialog to do just that. +<BR> +<DIV ALIGN="CENTER"><A NAME="fig:Save_song"></A><A NAME="163"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.7:</STRONG> +Save song</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="575" HEIGHT="405" ALIGN="BOTTOM" BORDER="0" + SRC="./project_my_first_song.png" + ALT="Image project_my_first_song"></TD></TR> +</TABLE> +</DIV> +Note the check box for creating a project folder, when working with audio this +is very much recommended or you may soon loose track of what audio files belong +to which song. +<BR> +Finally we are ready to start recording! The process is completed by clicking +on the <SPAN CLASS="textbf">Play</SPAN> button in the Arranger. If all went well MusE then starts +to record a wave file from the Input Track placed in your song directory. +<BR> +When you wish to stop recording press <SPAN CLASS="textbf">Stop</SPAN> in the Arranger, now the +resulting waveform should be visible in the Arranger. After rewinding the Play +position and pressing <SPAN CLASS="textbf">Play</SPAN> again the resulting sound should be audible +through the connected output. + +<P> + +<H1><A NAME="SECTION00320000000000000000"> +Basic overview</A> +</H1> +In this section we will make a step by step walk-through of all the +different editors, their purpose and what functions they support. + +<P> + +<H2><A NAME="SECTION00321000000000000000"> +Main/Arranger</A> +</H2> + +<P> +<A NAME="Main_Arranger"></A> + +<DIV ALIGN="CENTER"><A NAME="fig:Main_Window"></A><A NAME="174"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.8:</STRONG> +MusE main window</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="846" HEIGHT="571" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_annotated.png" + ALT="Image main_window_annotated"></TD></TR> +</TABLE> +</DIV> +Above is the main window of MusE, the Arranger, this is what greets you +when launching MusE. The Arranger consists of two main parts, the Track-pane +and the Arranger canvas. The Track-pane lists all currently visible tracks +and the Arranger canvas contains all Parts of the composition. The +screenshot above shows an empty project. Below is MusE with a song in +progress, turns out it wasn't a very good song, but for our purposes it +is fine. In the below screenshot there are a lot of tracks visible in the +Track-pane, each have an icon which indicate it's type, wave-track, input, +output etcetera, more about that later. In the Arranger canvas a number of +parts are visible, the ones in yellow are in this composition wave files, +the multicolored line are different Parts of a drum track. + +<P> + +<DIV ALIGN="CENTER"><A NAME="fig:Main_Window_with_arrangement"></A><A NAME="179"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.9:</STRONG> +MusE main window with arrangement</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="1051" HEIGHT="635" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_with_arrangement.png" + ALT="Image main_window_with_arrangement"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H2><A NAME="SECTION00322000000000000000"></A> <A NAME="mixer"></A> +<BR> +Mixer +</H2> +Choosing <SPAN CLASS="textbf">View > Mixer A</SPAN> or <SPAN CLASS="textbf">B</SPAN> from the menu in the main +window will bring up the mixer as viewed below. The mixer will open with +all options enabled, showing channel strips for all tracks in the current +setup, depending on how far you have gotten this view may become very large, +at which point it may be a good idea to limit what is viewed in the Mixer. +From the view menu all the different kinds of tracks can be toggled on/off +from the mixer. Some may find it a good idea to use the two mixers A and B +setup with different setup and store this in your song template(s), more +about this in the Song Template section. It can be argued that everything +in MusE is a track analogous to the Unix idiom that everything is a file. +The types of tracks visible in the mixer (and track-pane) are: + +<DIV ALIGN="CENTER"> +r0.5 +<IMG + WIDTH="672" HEIGHT="424" ALIGN="BOTTOM" BORDER="0" + SRC="./mixer.png" + ALT="Image mixer"> + +</DIV> + +<UL> +<LI>Audio output +</LI> +<LI>Audio input +</LI> +<LI>Group track +</LI> +<LI>Aux track +</LI> +<LI>Wave track +</LI> +<LI>Synth track +</LI> +<LI>Midi track +</LI> +</UL> + +<P> +There is also a Midi Track variation called Drum Track, they are +however not distinguishable from Midi Tracks in the Mixer. Also the +strips for midi tracks are different in the Mixer than in the +Track-pane view. + +<P> + +<H1><A NAME="SECTION00330000000000000000"> +Tracks and parts</A> +</H1> +MusE arranges your music in <SPAN CLASS="textit">tracks</SPAN> and <SPAN CLASS="textit">parts</SPAN>. The following +section shall provide you an overview of how things are done with MusE. +If you are or were a Cubase or Cakewalk user, you will feel familiar with +this. + +<P> + +<H2><A NAME="SECTION00331000000000000000"> +Tracks</A> +</H2> +There are two general classes of tracks: MIDI tracks and audio +tracks. MIDI tracks (and drum tracks which are internally MIDI tracks) +can hold note data. The Wave track is a type of audio track which holds +wave data. There are also several other kinds of audio tracks. + +<P> + +<H4><A NAME="SECTION00331010000000000000"> +MIDI tracks</A> +</H4> +MIDI and drum tracks hold MIDI event data. They don't differ much, +except that drum tracks offer a special editor which is more suitable +for drum editing. + +<P> + +<H4><A NAME="SECTION00331020000000000000"> +Wave tracks</A> +</H4> +They hold audio data which can be just played back or be piped through +effect plugin chains. They offer automation for these plugins. + +<P> + +<H4><A NAME="SECTION00331030000000000000"> +Audio input tracks</A> +</H4> +These provide the path for your audio data from outside into your +project. Set up the physical audio inputs you want to connect your +audio input track with, and then route the input tracks to various +other tracks such as wave tracks. + +<P> + +<H4><A NAME="SECTION00331040000000000000"> +Audio output tracks</A> +</H4> +These provide the path for your project's audio data to outside. Set +up the physical audio outputs you want to connect your audio out track +with, and then route various other tracks, such as wave tracks, to +the output tracks. + +<P> + +<H4><A NAME="SECTION00331050000000000000"> +Audio group tracks</A> +</H4> +Group tracks are like busses, where you can route other tracks to +them, then route the groups to other tracks. Since group tracks have +all the features of other audio tracks, like volume and pan, they +provide a convenient common routing point where you have control of +the sound before it is passed to other tracks. + +<P> + +<H4><A NAME="SECTION00331060000000000000"></A> <A NAME="aux_tracks"></A> +<BR> +Audio aux tracks +</H4> +These provide a more convenient way to mix several audio tracks +together. With each audio aux track added, other audio tracks will +gain a common send knob for adjusting the level sent to the aux +track. This can be more convenient than using several group tracks. + +<P> + +<H4><A NAME="SECTION00331070000000000000"> +Synthesizer tracks</A> +</H4> +This type of track is a software synthesizer which MIDI and drum tracks +can be assigned to. + +<P> + +<H4><A NAME="SECTION00331080000000000000"> +Creation</A> +</H4> +You can create a track by either right-clicking in the arranger's track list and then adding the desired track, or via the edit menu. + +<P> + +<H4><A NAME="SECTION00331090000000000000"> +Attributes</A> +</H4> +Tracks have several attributes: +<DL> +<DT><STRONG>Mute:</STRONG></DT> +<DD>If you click on the <SPAN CLASS="textit">Mute</SPAN> field (denoted with +a "M" column header), the track gets muted and stops producing sound. +</DD> +<DT><STRONG>Solo:</STRONG></DT> +<DD><A NAME="track_attr_solo"></A> The solo button ("S" column +header) singles out a track for listening. It mutes +some other tracks but may phantom solo others. +For more info see the section on soloing: <A HREF="#track_soloing">2.5</A> and +phantom soloing: <A HREF="#phantom_soloing">2.5.1</A> +</DD> +<DT><STRONG>Record:</STRONG></DT> +<DD>The R column "arms" your track for recording. +When you rec-arm your song and have no tracks rec-armed, you won't be +able to record anything. See also the config option "move rec-arm with selection". +</DD> +<DT><STRONG>Track name:</STRONG></DT> +<DD>Double-click to edit the track name. +</DD> +<DT><STRONG>Port:</STRONG></DT> +<DD>For MIDI tracks, this lets you select the MIDI +port to which the events should be routed. This can be your physical +synthesizer or a software synthesizer. For soft synths, this is the +port the synth is associated to. For other track types, this is disabled. +</DD> +<DT><STRONG>Channel:</STRONG></DT> +<DD>For MIDI tracks, this is the MIDI channel the +output is sent to. For any kind of audio tracks, this is the number of +channels (mono, stereo). + </DD> +<DT><STRONG>Automation:</STRONG></DT> +<DD><A NAME="track_attr_automation"></A> For audio tracks, +this lets you set up the automation display in the arranger. +(See automation <A HREF="#audio_automation">2.7.1</A>). Clicking this will provide you +with a popup menu with lots of submenus. Clicking on a submenu will +select or unselect it showing or hiding the automation parameter as a +graph overlaid on top of the track. +<BR> +The submenus let you select the color you want to associate with the +automation parameter. There you can also assign midi controllers to +the parameters, a dialog is shown where you can manually choose the +midi controller, with a <SPAN CLASS="textit">learn</SPAN> button to 'listen for' and +automatically recognize any midi controller operated by you. + +<P> +</DD> +<DT><STRONG>Clef:</STRONG></DT> +<DD>For MIDI tracks, you can specify a clef here. This +only affects the score editor. + +<P> +</DD> +</DL> + +<P> + +<H3><A NAME="SECTION00331100000000000000"> +The trackinfo side bar</A> +</H3> +In the arranger and the part editors, you'll have a trackinfo sidebar +on the left side. You can set up track-type specific things there. + +<P> + +<H4><A NAME="SECTION00331110000000000000"></A> <A NAME="midi_trackinfo_sidebar"></A> +<BR> +MIDI trackinfo sidebar +</H4> +The MIDI trackinfo sidebar lets you change program, volume, pan and +more. This sidebar can also be viewed at the left of the pianoroll +editor. + +<H5><A NAME="SECTION00331111000000000000"> +Old style drum tracks:</A> +</H5> +These are MIDI tracks as well, but with a few differences. They allow +you to map certain drum sounds with different input notes, and you +can change the output settings of a certain "drum instrument" without +having to alter each single event. + +<P> +However, they have certain limitations: They only can handle 128 sounds +(even if you have more synthes), they aren't really compatible with +MIDI tracks (you can interchange parts between them, but if you touched +the drum list, you'll get unexpected results), you can't set a program +for the used channel and more. + +<P> + +<H3><A NAME="SECTION00331200000000000000"> +New style drum tracks</A> +</H3> +Because of these limitations, we introduced the new-style drum tracks. +They're not fully compatible with the old drum tracks, so the old are +still retained. Under "Global Settings", "GUI settings", you can set +up whether you prefer the old or new. + +<P> +They are handled exactly like plain MIDI tracks (staying compatible with +them), and offer all of the functionality, though in a different way. +They allow you to re-order the drum map efficiently, you can open parts +from multiple drum tracks in <SPAN CLASS="textit">one</SPAN> drum editor (MusE will separate +the sounds from different tracks according to your settings, see the +"Window Config" menu), and you can set programs as with normal MIDI tracks. + +<P> + +<H5><A NAME="SECTION00331201000000000000"> +MIDI trackinfo controls:</A> +</H5> +<DL> +<DT><STRONG>Output port:</STRONG></DT> +<DD>This drop-down list selects the midi port +to send midi output from this track. +</DD> +<DT><STRONG>Output channel:</STRONG></DT> +<DD>This box selects the midi channel to be +used on the output port. +</DD> +<DT><STRONG>Input and output routing:</STRONG></DT> +<DD>Selects midi ports and +channels to receive midi from, and soloing paths. (See Routes +<A HREF="#routes">2.4</A>). +</DD> +<DT><STRONG>Midi through:</STRONG></DT> +<DD>This button selects whether midi input is +passed through to the selected output port. +<BR> +Depending on your midi devices and settings, there are cases when +this should be off such as using the same port and channel for +input and output (otherwise a double-note <SPAN CLASS="textit">echo</SPAN> will be heard), +and cases when it must be on such as when using a synthesizer track +as output device. +</DD> +<DT><STRONG>Input detect indicator:</STRONG></DT> +<DD>Blinks when midi activity is +detected on the selected midi channels on the selected midi input +ports. +</DD> +<DT><STRONG>Transpose:</STRONG></DT> +<DD>This transposes midi input notes up or down +in pitch. This is very useful if your midi keyboard hasn't enough +keys or the selected output device plays an octave too low or high, +and you would like to shift the octave of the incoming notes to +compensate. +</DD> +<DT><STRONG>Delay:</STRONG></DT> +<DD>Adjusts the delay of the notes. +</DD> +<DT><STRONG>Length:</STRONG></DT> +<DD>Adjusts the length of the notes. +</DD> +<DT><STRONG>Velocity:</STRONG></DT> +<DD>Adjusts the velocity of incoming notes. +Use it to compensate for a too-loud or too-soft keyboard. +</DD> +<DT><STRONG>Compression:</STRONG></DT> +<DD>Adjusts the compression of incoming note +velocities. Use it to make soft incoming notes louder, and loud +notes not so loud. +</DD> +<DT><STRONG>Instrument:</STRONG></DT> +<DD>Selects the midi instrument patch to be used +by the selected output port. This is equivalent of dialing the patch +in the bank and program boxes, except it displays a more friendly +patch <SPAN CLASS="textit">name</SPAN> as defined by the selected output port's midi +instrument. See instruments, or port configuration +<A HREF="#midi_port_config">2.8.1</A> +</DD> +<DT><STRONG>H-Bank:</STRONG></DT> +<DD>Selects the high bank number of the current patch. +</DD> +<DT><STRONG>L-Bank:</STRONG></DT> +<DD>Selects the low bank number of the current patch. +</DD> +<DT><STRONG>Prog:</STRONG></DT> +<DD>Selects the program number of the current patch. +</DD> +<DT><STRONG>Volume:</STRONG></DT> +<DD>Adjusts the midi volume controller. +</DD> +<DT><STRONG>Pan:</STRONG></DT> +<DD>Adjusts the midi pan controller. +</DD> +</DL> +The buttons beside the Prog, Volume, and Pan boxes store the value, +at the current transport position, for midi automation. (See +automation <A HREF="#midi_automation">2.7.1</A>). + +<P> +Note that the 'Prog' button stores H-Bank and L-Bank along with +'Prog' value, so there are no H-Bank and L-Bank buttons. + +<P> +The 'All' button simply stores all three Program (and banks), Volume, +and Pan values at once. + +<P> +<SPAN CLASS="textit">Tip:</SPAN> If the Song Type is GM, GS, or XG, you may need to store +desired values at transport position zero, otherwise your adjustments +may be overriden by the instrument when the transport is moved back +to position zero. If this behaviour is undesired, you can set the +Song Type to 'NO' meaning no song type. + +<P> + +<H4><A NAME="SECTION00331210000000000000"> +Audio trackinfo sidebar</A> +</H4> +Unlike the midi trackinfo sidebar, the audio trackinfo side bar +is nothing more than an embedded audio mixer strip, the exact same +strip as found in the mixers. (See mixer <A HREF="#mixer">2.2.2</A>). + +<H5><A NAME="SECTION00331211000000000000"> +Effects rack:</A> +</H5> +On the top of the audio trackinfo sidebar, there is an effects rack +which allows you to apply various plugins on the audio. For more +information on this, refer to <A HREF="#effects_rack">2.6.1</A>. + +<P> + +<H2><A NAME="SECTION00332000000000000000"> +Parts</A> +</H2> +Within MIDI, drum and wave tracks, you can create <SPAN CLASS="textit">parts</SPAN>. Parts +are chunks of coherent notes or wave data which can be moved around, +copied, cloned and deleted independent from other parts. + +<P> +Parts are created by selecting the pencil tool and then drawing onto +the right part area in the arranger. You can move them with the arrow +tool, delete them using the <SPAN CLASS="textbf">DEL</SPAN> key, and a right-click opens +a popup menu. This menu allows you even more stuff, such as setting +the part's color, saving the part to disk etc.. You can use +<SPAN CLASS="textbf">CTRL+C</SPAN> and <SPAN CLASS="textbf">CTRL+V</SPAN> for copying and pasting parts. +<SPAN CLASS="textbf">CTRL+B</SPAN> pastes the part as a clone. Pressing <SPAN CLASS="textbf">SHIFT</SPAN> +additionally provides you a dialog which allows you to paste the part +multiple times and set more stuff. + +<P> +You can also copy parts with the mouse by moving the part with the mouse +while holding down the <SPAN CLASS="textbf">CTRL</SPAN> key. + +<P> + +<H1><A NAME="SECTION00340000000000000000"></A> <A NAME="routes"></A> +<BR> +Routes +</H1> +Routes are how tracks are connected together and to the outside world. +(They are also how Jack midi ports connect to the outside world. See +midi port configuration <A HREF="#midi_port_config">2.8.1</A>). +Each track strip has two buttons whose icons look like plugs. One button +is for input routing and the other is for output routing. Clicking on +these buttons will pop up a menu of available input or output routes that +you can connect to. Most audio tracks list other tracks to connect to, +but audio input and output tracks are special: Audio input track input +routing menus list available Jack audio input ports. Conversely audio +output track output routing menus list available Jack audio output ports. + +<P> + +<DIV ALIGN="CENTER"> +r0.25 +<IMG + WIDTH="231" HEIGHT="318" ALIGN="BOTTOM" BORDER="0" + SRC="./output_routing.png" + ALT="Image output_routing"> + +</DIV> + +<P> +Meanwhile MIDI and drum tracks allow you to route available MIDI ports +and channels to the track using a handy popup matrix. + +<P> + +<DIV ALIGN="CENTER"> +r0.25 +<IMG + WIDTH="522" HEIGHT="158" ALIGN="BOTTOM" BORDER="0" + SRC="./midi_routing_matrix.png" + ALT="Image midi_routing_matrix"> + +</DIV> + +<P> + +<H2><A NAME="SECTION00341000000000000000"></A> <A NAME="anti_circular_routing"></A> +<BR> +Anti circular routing +</H2> +Any routing menu item which would cause a circular routing condition +is grayed out. Find out why the condition would exist by examining +routing paths involved and correct the situation if required. + +<P> +Also, you cannot use a track's aux sends if the track has an input +route path from ANY Aux Track. (See aux tracks <A HREF="#aux_tracks">2.3.1</A>). +Aux send knobs and labels are disabled in that case. + +<P> + +<H2><A NAME="SECTION00342000000000000000"></A> <A NAME="soloing_chain_routes"></A> +<BR> +Soloing chain routes +</H2> +Soloing chains (see solo chains <A HREF="#soloing_chains">2.5.2</A>) are really just +routes like any other. The available solo chaining paths are displayed +in the routing popup menus. + +<P> + +<H1><A NAME="SECTION00350000000000000000"></A> <A NAME="track_soloing"></A> +<BR> +Track soloing +</H1> +Soloing allows you to single out a track for listening while muting others, +without you having to mute the other tracks. (See soloing track attribute +<A HREF="#track_attr_solo">2.3.1</A>). + +<P> + +<H2><A NAME="SECTION00351000000000000000"></A> <A NAME="phantom_soloing"></A> +<BR> +Phantom soloing +</H2> +In order to solo a track and mute others so that it is heard, MusE +employs 'phantom' soloing: When a track is soloed, MusE automatically +solos all tracks routed to and from this track. (See routes +<A HREF="#routes">2.4</A>). A phantom soloed track is indicated by a black square +in the track pane solo column. (See track attributes +<A HREF="#track_attr_solo">2.3.1</A>). + +<P> + +<DIV ALIGN="CENTER"><A NAME="fig:Soloing"></A><A NAME="295"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.10:</STRONG> +Soloing, with phantom soloing</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="529" HEIGHT="476" ALIGN="BOTTOM" BORDER="0" + SRC="./soloing_window.png" + ALT="Image soloing_window"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H2><A NAME="SECTION00352000000000000000"></A> <A NAME="soloing_chains"></A> +<BR> +Soloing chains +</H2> +When an audio output track sends audio to some external entity, such +as an external running application, and audio from the external entity +is fed back into a MusE audio input track, solo chains allow you to +solo the input or output, and MusE will complete the path automatically +soloing the other, and all paths that came before or after it. + +<P> +Solo chains also work with MIDI tracks chained to audio inputs: +When a MIDI track drives some MIDI device whose audio is fed into MusE, +solo chains allow the entire chain to be soloed. + +<P> +Solo chains are accessed via routing menus. (See solo chain routes +<A HREF="#soloing_chain_routes">2.4.2</A>). + +<P> + +<H1><A NAME="SECTION00360000000000000000"></A> <A NAME="plugins"></A> +<BR> +Plugins +</H1> +Plugins are small add-ons which can process a track's data. + +<P> +MIDI plugins operate on midi and drum tracks, and are found in +the <SPAN CLASS="textbf">Midi</SPAN> menu. + +<P> +Audio plugins can be applied to any track handling audio (that is, +inputs, outputs, wave tracks, synth tracks). The effects rack +section describes this. (See effects rack <A HREF="#effects_rack">2.6.1</A>). + +<P> + +<H2><A NAME="SECTION00361000000000000000"></A> <A NAME="effects_rack"></A> +<BR> +The audio effects rack +</H2> +All audio track types (Input, Output, Group, Wave, Synth, and Aux) have +an effects rack into which audio plugins can be inserted in a chain. +Currently each rack can accomodate up to four plugins. + +<P> +MusE currently supports LADSPA plugins and DSSI synth and effects +plugins. + +<P> +Plugins can be added by double-clicking on an entry in the effect rack +in the track info pane (which is shown at the left side of the arranger +when the according track is selected). Right-clicking the rack items +offers a self-explanatory popup menu. + +<P> +All plugin controls can be automated. (See audio automation +<A HREF="#audio_automation">2.7.1</A>). + +<P> +One must carefully consider how many audio inputs and outputs a plugin +has, and how may channels the particular audio track has (1 mono or +2 stereo), and how MusE uses the plugins in the rack. + +<P> +Learn more about this in the appendix Understanding the Effects Rack: +<A HREF="#apx_effects_rack">3</A> + +<P> + +<H3><A NAME="SECTION00361100000000000000"></A> +<A NAME="plugin_guis"></A> +<BR> +Audio plugin Graphical User Interfaces (GUIs) +</H3> Once a plugin is added, you need a way to +manipulate its controls, which affect its behaviour and operate +on the sound. + +<P> +MusE can show a generic GUI which contains all of the +plugin's controls arranged in a rather plain generic fashion. + +<P> +Some plugins may also have a native GUI which looks much better (it +was specifically designed for the plugin). + +<P> +Both GUI types are opened from the effects rack right-click popup menu. + +<P> + +<H1><A NAME="SECTION00370000000000000000"></A> <A NAME="automation"></A> +<BR> +Automation +</H1> +Automation is the ability to record (or construct) and playback +exact sequences of control movements. + +<P> +MIDI and audio automation are each currently uniquely different, +but share some similarities. + +<P> + +<H2><A NAME="SECTION00371000000000000000"></A> <A NAME="audio_automation"></A> +<BR> +Audio automation +</H2> +Almost all graphical audio controls in MusE can be automated. + +<P> +This includes an audio track's volume and pan, and the controls +of any plugins in the effects rack, and if the track is a +synthesizer track, all of the synth's controls. + +<P> +Each control has a manual adjustment value. This value is shown +when there is no automation data at all, or automation has been +disabled. + +<P> +For plugin and synth controls, it is usually more desirable to +manipulate automation with the generic plugin GUIs, because +MusE has full control over their behaviour. (See plugin GUIs +<A HREF="#plugin_guis">2.6.1</A>). + +<P> +There are a few ways to enter audio automation data: + +<UL> +<LI>By adjusting audio controls while the transport is rolling. +MusE will record the exact movements. +</LI> +<LI>By adjusting audio controls while the transport is stopped, +at different transport positions. TOUCH mode allows this. +</LI> +<LI>By right-clicking any audio control and choosing an operation +from the automation popup menu. This includes storing, erasing, +and clearing automation events, and seeking the next or previous +event. +</LI> +<LI>By drawing the data on the audio track's automation graphs. +(See track automation <A HREF="#track_attr_automation">2.3.1</A>). +</LI> +</UL> +<H4><A NAME="SECTION00371010000000000000"> +Audio automation modes</A> +</H4> +Each audio track strip has an automation mode button +at the bottom. There are four automation modes: +<DL> +<DT><STRONG>OFF:</STRONG></DT> +<DD>Disables all automation, uses manual value always. +</DD> +<DT><STRONG>READ:</STRONG></DT> +<DD>Automation data is applied to controls. If any +automation data exists, the manual value is overridden and has +no effect. +</DD> +<DT><STRONG>TOUCH:</STRONG></DT> +<DD>Allows you to alter a control at any time, while +transport is stopped or rolling, If rolling, when the control is +released it returns to reading from automation data. +</DD> +<DT><STRONG>WRITE:</STRONG></DT> +<DD>Allows to adjust an initial value before rolling +the transport. While rolling, when the control is released it does +not return to reading from automation data. +</DD> +</DL> +Here is a screenshot of automation WRITE mode, and some automation +data, with the track pane automation popup menu showing (see track +automation <A HREF="#track_attr_automation">2.3.1</A>): + +<DIV ALIGN="CENTER"><A NAME="fig:audio_automation"></A><A NAME="329"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.11:</STRONG> +Audio automation graphs</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="782" HEIGHT="524" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_with_automation.png" + ALT="Image main_window_with_automation"></TD></TR> +</TABLE> +</DIV> + +<P> +<A NAME="midi_automation"></A> +<H2><A NAME="SECTION00372000000000000000"> +Midi automation</A> +</H2> +MIDI automation is a slightly different concept: Unlike audio +automation, currently there is no automation 'mode' and it doesn't +record graphical control movements. Data is viewed from within +the pianoroll and drum editors, by clicking on the 'Ctrl' button +on those canvases. + +<P> +Similar to audio controls, each midi control has a manual adjustment +value. This value is overridden when there is midi automation data. + +<P> +There are a few ways to enter MIDI automation data: + +<UL> +<LI>By adjusting external MIDI controls (such as a midi keyboard +pitch or modulation wheel) while the transport is rolling and both +the transport and midi track are in record mode. MusE will record +the exact movements. As mentioned earlier, note that graphical control +movements are not recorded. +</LI> +<LI>By right-clicking any midi control and choosing an operation +from the automation popup menu. This includes storing and erasing +automation events. +</LI> +<LI>By adjusting volume, pan, bank or program boxes in the midi +trackinfo panel and clicking the corresponding volume, pan, or +program buttons. (See midi trackinfo <A HREF="#midi_trackinfo_sidebar">2.3.1</A>). +</LI> +<LI>By drawing the data on a midi part's automation graphs. +</LI> +</UL> +Here is a screen shot of a midi track, containing a midi part +which has been opened with the pianoroll editor and automation +data showing. + +<P> +The 'Ctrl' popup menu (bottom left) shows available midi controllers +and the green dot indicates there is some data. + +<P> + +<DIV ALIGN="CENTER"><A NAME="fig:midi_automation"></A><A NAME="339"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.12:</STRONG> +MIDI automation graphs</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="628" HEIGHT="620" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_with_midi_automation.png" + ALT="Image main_window_with_midi_automation"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H1><A NAME="SECTION00380000000000000000"> +Configuration</A> +</H1> + +<P> + +<H2><A NAME="SECTION00381000000000000000"> +MIDI ports</A> +</H2> +MIDI ports provide an abstraction layer for your MIDI hardware and +synthesizers (which can be both software and hardware synthesizers), +and other MIDI applications. Port are numbered. In order to produce +sound, each MIDI track is assigned to exactly one MIDI port, to which +the MIDI events are then sent. + +<P> +The advantage of this abstraction layer is that if your system changes, +for example you change MIDI hardware, then you need only modify the +ports instead of all the tracks using those ports. This is similar +to the audio input and output track abstraction to the outside world. + +<P> +<A NAME="midi_port_config"></A> +<H4><A NAME="SECTION00381010000000000000"> +MIDI port configuration</A> +</H4> +In the midi/softsynth configuration menu, you must map the port numbers +to the actual devices (by selecting ALSA or jack midi ports, or synth +plugins). + +<P> +Try left-clicking on the "Ports" column of some MIDI track. +If you use a soft synth, right-clicking the Ports column of the synth +or any track using the synth lets you launch the synth's GUI. + +<P> + +<DIV ALIGN="CENTER"><A NAME="fig:midi_config_window"></A><A NAME="348"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.13:</STRONG> +Midi configuration window</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="865" HEIGHT="597" ALIGN="BOTTOM" BORDER="0" + SRC="./midi_config_window.png" + ALT="Image midi_config_window"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H4><A NAME="SECTION00381020000000000000"> +Columns in the MIDI configuration ports list:</A> +</H4> +<DL> +<DT><STRONG>GUI:</STRONG></DT> +<DD>For synthesizer devices, indicates if a gui is available +and if it is showing. Click to show. +</DD> +<DT><STRONG>I:</STRONG></DT> +<DD>If present, the port can accept MIDI input. Click to +enable or disable it. +</DD> +<DT><STRONG>O:</STRONG></DT> +<DD>If present, the port can send MIDI output. Click to enable +or disable it. +</DD> +<DT><STRONG>Instrument:</STRONG></DT> +<DD>Selects the instrument to be used when MIDI is +played through the port. +</DD> +<DT><STRONG>Device name:</STRONG></DT> +<DD>Selects or creates a MIDI device assigned to the +port. These can be Jack MIDI devices or ALSA MIDI devices (if ALSA is +enabled), or soft synthesizers. Jack MIDI devices are created by selecting +Create Jack Device from the Device name drop-down menu. Jack MIDI devices +can be renamed as you wish by clicking the device name. Soft synthesizers +are created by clicking in the soft synthesizer list and then Add +Instance. Or you can simply create a new synthesizer track from the +arranger track list, or even the mixer menus. +</DD> +<DT><STRONG>In and Out routes:</STRONG></DT> +<DD>These are for Jack MIDI devices, they are +the routes to and from available Jack MIDI ports. Jack may provide +different alias names for these ports, you can select which alias +is shown. +</DD> +<DT><STRONG>Default in channels:</STRONG></DT> +<DD>Auto-connect these port channels to +new midi or drum tracks. +</DD> +<DT><STRONG>Default out channel:</STRONG></DT> +<DD>Auto-connect new midi or drum tracks +to this channel on the port. +</DD> +<DT><STRONG>State:</STRONG></DT> +<DD>Indicates the state of the port including any errors +opening it. +</DD> +</DL> + +<P> + +<H2><A NAME="SECTION00382000000000000000"> +Global settings</A> +</H2> + +<H3><A NAME="SECTION00382100000000000000"> +Audio settings</A> +</H3> + +<H4><A NAME="SECTION00382110000000000000"> +Minimum control period</A> +</H4> +Plugins can usually process an arbitrarily small (or large) amount +of samples. If some plugin control value changes continously, to provide +ideal listening experience, MusE would need to call the plugin 44100 +times a second, asking for one single value at a time. With the minimum +control period setting, the user can force MusE to ask the plugin for +at least N values. Setting this value to 64 would in this situation +make MusE call the plugin <!-- MATH + $689=\frac{44100}{64})$ + --> +<SPAN CLASS="MATH"><IMG + WIDTH="91" HEIGHT="35" ALIGN="MIDDLE" BORDER="0" + SRC="img1.png" + ALT="$689=\frac{44100}{64})$"></SPAN> times a second, +asking for 64 values at a time. While doing this will reduce accuracy +of control changes, it may also reduce CPU usage, because calling +the plugin more often, requesting smaller chunks, is more expensive +than calling it seldomly, requesting larger chunks. + +<H5><A NAME="SECTION00382111000000000000"> +Recommendation</A> +</H5> +If you have no performance problems, or if you want to do the final +downmix of your project, set this to a low value. If you're experiencing +performance problems, increasing this value might help. + +<P> + +<H1><A NAME="SECTION00400000000000000000"></A> +<A NAME="apx_effects_rack"></A> +<BR> +Appendix +</H1> +<H1><A NAME="SECTION00410000000000000000"> +Understanding the effects rack</A> +</H1> +One must carefully consider how many audio inputs and outputs a plugin +has, and how may channels the particular audio track has (1 mono or +2 stereo), and how MusE uses the plugins in the rack. + +<P> +MusE will try to internally create as many independent copies +(instances) of a plugin as necessary, to satisfy the number of channels +in the audio track. +Basically it divides the number of track channels by the number of +plugin audio inputs or outputs to determine how many copies to make. +First it examines the number of plugin audio outputs, and if there are +none, it will examine the number of audio inputs, and if there are +none, it will simply use just one plugin copy. + +<P> +For mono tracks with plugins having more than one audio input or +output, MusE uses the first input or output and ignores the rest. + +<P> +For stereo tracks: + +<P> +<TABLE CELLPADDING=3 BORDER="1"> +<TR><TD ALIGN="CENTER">plugin inputs</TD> +<TD ALIGN="CENTER">outputs</TD> +<TD ALIGN="CENTER">copies</TD> +<TD ALIGN="CENTER">track in route channels</TD> +<TD ALIGN="CENTER">track out route channels</TD> +</TR> +<TR><TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">0</TD> +</TR> +<TR><TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">0</TD> +</TR> +<TR><TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">1 (L only)</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">0</TD> +</TR> +<TR><TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +</TABLE> + +<P> +Notice that on a stereo track with a plugin having one audio input and +two audio outputs, only the first track input route channel is used +(left only). + +<P> +These same rules apply to inter-plugin audio when more than one plugin +is in the rack chain. Extra audio outputs of one plugin may be ignored +by the next plugin if not used. + +<P> +Currently specialized plugins with many inputs and/or outputs are not +really useful in MusE. + +<P> +Nor are so-called 'realtime' control plugins which use audio inputs +and outputs for control signals. + +<P> +Loud noise alert! Beware of using such plugins in an audio effects +rack. + +<P> +Example: Consider a stereo Audio Input track with these effect rack + LADSPA plugins: + +<P> + +<UL> +<LI>comb_splitter Comb Splitter by Steve Harris +</LI> +<LI>tap_stereo_echo Tap Stereo Echo by Tom Szilagyi +</LI> +</UL> + +<P> +The Comb Splitter has one audio input and two audio outputs. +The Stereo Echo has two audio inputs and two audio outputs. + +<P> +The stereo Audio Input track will therefore ignore its second +input route connection. It will process the left input only, +separating it into stereo with the Comb Splitter, passing the +split stereo signal into the Stereo Echo, finally producing +stereo output available at the Audio Input track's output routes. + +<P> +One improvement would be not creating unused redundant plugin copies +between plugins in stereo tracks. +For example, for a plugin having one audio input and one audio output, +feeding a plugin having one audio input and two audio outputs, +the extra copy of the first plugin is redundant and not required, +but currently it is created anyway. +<BR><HR> + +</BODY> +</HTML> diff --git a/muse2/doc/html/single/documentation/img1.png b/muse2/doc/html/single/documentation/img1.png Binary files differnew file mode 100644 index 00000000..36e71d7e --- /dev/null +++ b/muse2/doc/html/single/documentation/img1.png diff --git a/muse2/doc/html/single/documentation/index.html b/muse2/doc/html/single/documentation/index.html new file mode 100644 index 00000000..b24ff0be --- /dev/null +++ b/muse2/doc/html/single/documentation/index.html @@ -0,0 +1,1702 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> + +<!--Converted with LaTeX2HTML 2008 (1.71) +original version by: Nikos Drakos, CBLU, University of Leeds +* revised and updated by: Marcus Hennecke, Ross Moore, Herb Swan +* with significant contributions from: + Jens Lippmann, Marek Rouchal, Martin Wilck and others --> +<HTML> +<HEAD> +<TITLE>MusE Documentation</TITLE> +<META NAME="description" CONTENT="MusE Documentation"> +<META NAME="keywords" CONTENT="documentation"> +<META NAME="resource-type" CONTENT="document"> +<META NAME="distribution" CONTENT="global"> + +<META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=utf-8"> +<META NAME="Generator" CONTENT="LaTeX2HTML v2008"> +<META HTTP-EQUIV="Content-Style-Type" CONTENT="text/css"> + +<LINK REL="STYLESHEET" HREF="documentation.css"> + +</HEAD> + +<BODY > + +<DIV ALIGN="CENTER"> + +<P><A NAME="fig:MusE"></A></P> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="1030" HEIGHT="722" ALIGN="BOTTOM" BORDER="0" + SRC="./muse2.png" + ALT="Image muse2"> + +</DIV> +<BR> + +<H2><A NAME="SECTION00100000000000000000"> +Contents</A> +</H2> +<!--Table of Contents--> + +<UL CLASS="TofC"> +<LI><A NAME="tex2html67" + HREF="documentation.html#SECTION00200000000000000000">What is this?</A> +<LI><A NAME="tex2html68" + HREF="documentation.html#SECTION00300000000000000000">User's manual</A> +<UL> +<LI><A NAME="tex2html69" + HREF="documentation.html#SECTION00310000000000000000">Introduction</A> +<UL> +<LI><A NAME="tex2html70" + HREF="documentation.html#SECTION00311000000000000000">A brief history of computer audio and MusE</A> +<LI><A NAME="tex2html71" + HREF="documentation.html#SECTION00312000000000000000">Definitions</A> +<LI><A NAME="tex2html72" + HREF="documentation.html#SECTION00313000000000000000">Getting up and running for impatient people</A> +<LI><A NAME="tex2html73" + HREF="documentation.html#SECTION00314000000000000000">Getting up and running</A> +<LI><A NAME="tex2html74" + HREF="documentation.html#SECTION00315000000000000000">Beginners tutorial</A> +</UL> +<LI><A NAME="tex2html75" + HREF="documentation.html#SECTION00320000000000000000">Basic overview</A> +<UL> +<LI><A NAME="tex2html76" + HREF="documentation.html#SECTION00321000000000000000">Main/Arranger</A> +<LI><A NAME="tex2html77" + HREF="documentation.html#SECTION00322000000000000000">Mixer</A> +</UL> +<LI><A NAME="tex2html78" + HREF="documentation.html#SECTION00330000000000000000">Tracks and parts</A> +<UL> +<LI><A NAME="tex2html79" + HREF="documentation.html#SECTION00331000000000000000">Tracks</A> +<LI><A NAME="tex2html80" + HREF="documentation.html#SECTION00332000000000000000">Parts</A> +</UL> +<LI><A NAME="tex2html81" + HREF="documentation.html#SECTION00340000000000000000">Routes</A> +<UL> +<LI><A NAME="tex2html82" + HREF="documentation.html#SECTION00341000000000000000">Anti circular routing</A> +<LI><A NAME="tex2html83" + HREF="documentation.html#SECTION00342000000000000000">Soloing chain routes</A> +</UL> +<LI><A NAME="tex2html84" + HREF="documentation.html#SECTION00350000000000000000">Track soloing</A> +<UL> +<LI><A NAME="tex2html85" + HREF="documentation.html#SECTION00351000000000000000">Phantom soloing</A> +<LI><A NAME="tex2html86" + HREF="documentation.html#SECTION00352000000000000000">Soloing chains</A> +</UL> +<LI><A NAME="tex2html87" + HREF="documentation.html#SECTION00360000000000000000">Plugins</A> +<UL> +<LI><A NAME="tex2html88" + HREF="documentation.html#SECTION00361000000000000000">The audio effects rack</A> +</UL> +<LI><A NAME="tex2html89" + HREF="documentation.html#SECTION00370000000000000000">Automation</A> +<UL> +<LI><A NAME="tex2html90" + HREF="documentation.html#SECTION00371000000000000000">Audio automation</A> +<LI><A NAME="tex2html91" + HREF="documentation.html#SECTION00372000000000000000">Midi automation</A> +</UL> +<LI><A NAME="tex2html92" + HREF="documentation.html#SECTION00380000000000000000">Configuration</A> +<UL> +<LI><A NAME="tex2html93" + HREF="documentation.html#SECTION00381000000000000000">MIDI ports</A> +<LI><A NAME="tex2html94" + HREF="documentation.html#SECTION00382000000000000000">Global settings</A> +</UL> +</UL> +<BR> +<LI><A NAME="tex2html95" + HREF="documentation.html#SECTION00400000000000000000">Appendix</A> +<UL> +<LI><A NAME="tex2html96" + HREF="documentation.html#SECTION00410000000000000000">Understanding the effects rack</A> +</UL></UL> +<!--End of Table of Contents--> +<H1><A NAME="SECTION00200000000000000000"> +What is this?</A> +</H1> +You are, if you have printed this document, holding in your hand the +written documentation for the audio and midi sequencer MusE version 2. +<BR><TT><A NAME="tex2html1" + HREF="http://www.muse-sequencer.org">http://www.muse-sequencer.org</A></TT> is MusE's home on the internet where +everything MusE releated should be possible to find, software, this +documentation, forums, mailing lists, bug reporting, FAQs. If you have +this document but not the software head on over there to find what it's +all about. + +<H1><A NAME="SECTION00300000000000000000"> +User's manual</A> +</H1> + +<P> + +<H1><A NAME="SECTION00310000000000000000"> +Introduction</A> +</H1> + +<H2><A NAME="SECTION00311000000000000000"> +A brief history of computer audio and MusE</A> +</H2> +To quickly summarize over a decades open source development: in 1999 Werner + Schweer released the first version of MusE, muse-0.0.1.tar.gz, in it's first +few releases (actually not few, Werner relentlessly churned out new releases) +MusE was only a midi sequencer. The target was to create a fully fledged +midi sequencer for the Linux operating system. Over the years audio was +added among with other things implemented and sometimes abandoned. +Today MusE is a stable and feature rich music creation environment which +strives to encompass most of the music recording process, creation, editing, +mastering. + +<P> + +<H2><A NAME="SECTION00312000000000000000"> +Definitions</A> +</H2> +<SPAN CLASS="textbf">CTRL</SPAN> refers to the control key on the keyboard, e.g. <SPAN CLASS="textbf">CTRL+C</SPAN> +means to press and hold the control key while pressing the c key. Make sure +you know where you have it so you won't accidentally lose control +(bad jokes are the best jokes, so say we all!). +<BR><SPAN CLASS="textbf">SHIFT</SPAN> refers to the shift key on the keyboard, see above for usage +<BR><SPAN CLASS="textbf">ALT</SPAN> refers to the alt key on the keyboard, see above for usage +<BR><TT><SPAN CLASS="textbf">$></SPAN></TT> is used as a generic definition for a terminal prompt. When the +manual lists a command that shall be typed, the prompt is not part of the +command. +<BR> +Keys are always referred to in bold uppercase, e.g. <SPAN CLASS="textbf">A</SPAN>. For instance +<SPAN CLASS="textbf">SHIFT+A</SPAN> for the key a pressed together with the shift key. +<BR> +Sometimes terminal examples are written tabbed in with a fixed font to +visualize more closely what something looks like on the screen. +E.g. +<BR> <TT><SPAN CLASS="textbf">$> muse2</SPAN></TT> +<BR> +<P> + +<H2><A NAME="SECTION00313000000000000000"> +Getting up and running for impatient people</A> +</H2> +Install MusE from the repository of your chosen distribution. +To get decent performance start http://jackaudio.org/Jack with +the following command in a terminal: +<BR> <TT><SPAN CLASS="textbf">$> jackd -d alsa -d hw:0 -p 256</SPAN></TT> +<BR> +Or, if you prefer, use the launcher utility +http://qjackctl.sourceforge.net/QJackCtl to get some +help starting Jack. +After this, start MusE from the menu or fire up another terminal and +type + +<P> +<TT><SPAN CLASS="textbf">muse2</SPAN></TT>. +<BR> +If this didn't work out read on for the slightly more complete route for +getting things started. + +<P> + +<H2><A NAME="SECTION00314000000000000000"> +Getting up and running</A> +</H2> + +<H3><A NAME="SECTION00314100000000000000"> +Installation from binaries</A> +</H3> +There are several ways to install MusE depending on your situation. The +most convenient way is to install a prepackaged version from your chosen +distribution. The drawback of this is that it may not be the most recent +version, though often there is a more recent package from a private packager. + +<H3><A NAME="SECTION00314200000000000000"> +Installation from source</A> +</H3> +Building MusE from source is not hard, there are a number of prerequistes +that must be met but the actual building should be painless (ha, famous +last words). +<BR> +Please follow the README in the source package and/or read the instructions +on the homepage: <TT><A NAME="tex2html2" + HREF="http://muse-sequencer.org/index.php/Installation">http://muse-sequencer.org/index.php/Installation</A></TT> +<P> + +<H3><A NAME="SECTION00314300000000000000"> +Hardware</A> +</H3> +MusE on the Linux platform supports midi through ALSA and Jack-midi and audio +through Jack. For information on what hardware is supported there are some +convenient places to check: + +<UL> +<LI>Alsa soundcard matrix at +<TT><A NAME="tex2html3" + HREF="http://www.alsa-project.org/main/index.php/Matrix:Main">http://www.alsa-project.org/main/index.php/Matrix:Main</A></TT> +</LI> +<LI><TT><A NAME="tex2html4" + HREF="http://FFADO.org">http://FFADO.org</A></TT> for firewire devices. +</LI> +</UL> +Also, as is often a very good approach for Linux and open source, the +various forums available on the internet often contain good information. +Chances are someone has already tried your configuration and/or had your +specific problem and the solution is already written down. + +<H3><A NAME="SECTION00314400000000000000"> +Launching</A> +</H3> +After installation the binary muse2 is installed on the computer. If MusE +was installed from a distribution repository the binary may have a +different name depending on the distribution policies. Most distributions +do however install a menu entry so MusE should be conveniently available +from there. + +<H3><A NAME="SECTION00314500000000000000"> +Audio preconditions</A> +</H3> +In the standard case MusE expects to find and connect to the Jack audio +server <TT><A NAME="tex2html5" + HREF="http://jackaudio.org">http://jackaudio.org</A></TT>. Make sure jack is installed (if MusE was +installed with a distribution-package Jack will very likely already be +installed) For Jack to run with best performance your system should be +sufficiently tuned to allow it to run with realtime capabilities. The +realtime configuration is configuration of the operating system and roughly +consists of two parts. + +<OL> +<LI>By default on most distros only the superuser lets applications setup +realtime capabilities. Please see the APPENDIX for setting up realtime +</LI> +<LI>Maximizing performance. A standard linux installation may not able +to reach the performance required by a power user. This requires exchanging +the linux kernel for a so called lowlatency kernel, this is also covered by +the realtime APPENDIX. +</LI> +</OL> + +<P> + +<H3><A NAME="SECTION00314600000000000000"> +Running MusE</A> +</H3> +Find MusE in the menu or open a terminal and enter muse2. + +<P> +<TT><SPAN CLASS="textbf">$> muse2</SPAN></TT> +<BR> +A splash screen should pop up followed +by the main application window and you are off! +<BR> +If an error like the screenshot below pops up the Jack audio server is +either not running or started as a different user than what you are trying +to start MusE as. + +<DIV ALIGN="CENTER"><A NAME="fig:no_audio"></A><A NAME="101"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.1:</STRONG> +Jack server missing</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="506" HEIGHT="178" ALIGN="BOTTOM" BORDER="0" + SRC="./no_audio.png" + ALT="Image no_audio"></TD></TR> +</TABLE> +</DIV> + +<H3><A NAME="SECTION00314700000000000000"> +Midi only</A> +</H3> +MusE can be started in Midi-only mode where MusE does not have any external +dependencies apart from ALSA midi. In this case start MusE from a terminal: +<TT><SPAN CLASS="textbf">$> muse2 -a</SPAN></TT> + +<P> + +<H3><A NAME="SECTION00314800000000000000"> +ALSA midi with Jack</A> +</H3> +If Jack is running, by default MusE will not use ALSA devices, preferring +Jack midi instead. To force ALSA devices to be used as well as Jack +midi, start MusE with the -A option: <TT><SPAN CLASS="textbf">$> muse2 -A</SPAN></TT> + +<P> + +<H2><A NAME="SECTION00315000000000000000"> +Beginners tutorial</A> +</H2> +To get a quick grip of what MusE can achieve please follow this beginners +tutorial. + +<H3><A NAME="SECTION00315100000000000000"> +Midi Setup</A> +</H3> +First off, fire up MusE as was described in the previous chapter, making +sure that the jack audio server is started with sufficient configuration +to allow for audio output without breakup. Also make sure your system can +make sound. + +<H3><A NAME="SECTION00315200000000000000"> +Soft synth test</A> +</H3> +With MusE up and running right click in the Track-pane (see +Fig. <A HREF="#fig:Main_Window">2.8</A>) and select +<SPAN CLASS="textbf">Add Synth > MESS > vam soft synth</SPAN>. +A Soft Synth track called vam-0 should appear as well as a separate GUI +for the synthesizer. + +<P> +Now right click once more in the Track-pane and select <SPAN CLASS="textbf">Add Midi +Track</SPAN>. Another track appears called Track 1, and its track list Port +column should show it is bound to the synth that was just created vam-0. +If it is not, click on the Track 1 Port column to open a drop-down list +of available devices and choose vam-0. + +<P> + +<DIV ALIGN="CENTER"> +r0.05 +<IMG + WIDTH="23" HEIGHT="23" ALIGN="BOTTOM" BORDER="0" + SRC="./arrow_tool.png" + ALT="Image arrow_tool"> + +</DIV> +Now select the drawing tool icon +from the toolbar, alternatively press the shortcut key <SPAN CLASS="textbf">D</SPAN>. +Move the mouse over to the arranger canvas as referenced in +Fig. <A HREF="#fig:Main_Window">2.8</A> +and point at the midi track, the mouse should have changed to a small pencil. +Draw a Part along the midi track using the mouse. For this exercise it is +not important where or how large the drawn Part is. When you are done double +click on the drawn part. This will open up the Piano Roll editor. To the +left of the Piano Roll there are piano keys in a vertical line, try clicking +on the keys in this virtual keyboard each click should be rewarded with a +synth sound (maybe of questionable quality, a sound nevertheless) + +<DIV ALIGN="CENTER"><A NAME="fig:vam_synth"></A><A NAME="123"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.2:</STRONG> +vam synthesizer</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="750" HEIGHT="560" ALIGN="BOTTOM" BORDER="0" + SRC="./vam_synth.png" + ALT="Image vam_synth"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H3><A NAME="SECTION00315300000000000000"> +Missing sound</A> +</H3> +If you got sound from the previous exercise you can carry on to the next, +or keep reading for further enlightenment in case you come upon trouble +later on. If there is no sound we need to do some fault hunting. First +off, click on Arranger window once more and select the vam-0 track in the +track-pane. + +<DIV ALIGN="CENTER"><A NAME="fig:Midi_editor"></A><A NAME="129"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.3:</STRONG> +Midi editor view</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="914" HEIGHT="679" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_with_midi_editor_vam.png" + ALT="Image main_window_with_midi_editor_vam"></TD></TR> +</TABLE> +</DIV> +Now bring back Piano Roll window and align the windows so you +can see the piano keys as well as the Meter on the Mixer Strip (see the +5 Function by function chapter for more information on these windows). +The result should be something like the following: + +<P> +When pressing one of the keys on virtual Keyboard the Meter on the Mixer +Strip should light up in green to visualize that the Synth is making +sound, if it is not try to trace back your steps and and see if you did +anything differently than described. +Now, if the Meter lights up but there is still no sound we need to +check the routing between the tracks. Click on the Arranger window again +and select the Out 1 track, this is the predefined output which MusE by +default loads at startup, at the bottom of Mixer Strip there are two +buttons looking like tele- jacks, these bring up the inputs and outputs +of the track, click on the right one, the output and make sure that it is +connected to some valid outputs on your system. + +<DIV ALIGN="CENTER"> +r0.25 +<IMG + WIDTH="231" HEIGHT="318" ALIGN="BOTTOM" BORDER="0" + SRC="./output_routing.png" + ALT="Image output_routing"> + +</DIV> +Click on the outputs to select them, if you did changes here go back and +try clicking on the Piano Roll keyboard again, hopefully it helped. If there +still are problems make sure your system actually can make sound through +Jack, this is however getting outside the scope of this manual. +<BR> +<BR><SPAN CLASS="textit">This might be the time to bring up the concept of community support. +Open source software could never be what it is without the support given by +individuals on forums and mailinglists, if the information given in this +document is not enough, try googling your problem and/or get in touch with +one of the online forums for MusE or Linux audio in general. See some pointers +in the Support chapter.</SPAN> + +<P> + +<H3><A NAME="SECTION00315400000000000000"> +Recording Midi</A> +</H3> TBD + +<H3><A NAME="SECTION00315500000000000000"> +Recording Audio</A> +</H3> +At this point we'll make a a slight detour into full on audio recording. Getting +audio out of MusE has already been covered in the previous chapters so we will +concentrate on the additional steps needed to record onto an audio track. +<BR> +<BR> +When MusE is first fired up, the +output track has already been created (more about this in the chapter about +templates), to proceed with audio recording we need to add two additional tracks, a +wave track and an input track. +<BR> +When MusE is first started right click in an empty space on the track view + +<DIV ALIGN="CENTER"><A NAME="fig:Add_track"></A><A NAME="142"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.4:</STRONG> +Add track</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="782" HEIGHT="498" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_add_track.png" + ALT="Image main_window_add_track"></TD></TR> +</TABLE> +</DIV> +and select <SPAN CLASS="textbf">Add Audio Input</SPAN>. Right click again and also select +<SPAN CLASS="textbf">Add Wave Track</SPAN>. Two additional tracks are now visible in the Arranger, +"Input 1" and "Track 1", bring up the mixer with <SPAN CLASS="textbf">F10</SPAN> and you should see +the following configuration. + +<DIV ALIGN="CENTER"><A NAME="fig:Mixer_with_one_input"></A><A NAME="150"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.5:</STRONG> +Mixer with one input</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="216" HEIGHT="418" ALIGN="BOTTOM" BORDER="0" + SRC="./mixer_with_one_input.png" + ALT="Image mixer_with_one_input"></TD></TR> +</TABLE> +</DIV> + +<BR> +Note the buttons on each mixer strip. hover over them to see their +functionality. For more information on all the buttons see coming chapters +about the mixer. For now lets just do what we must. +<BR> +1. click on the stereo symbol over the slider to change the input to a mono track. +<BR> +2. do the same for the wave track (optional) +<BR> +3. click on the Mute (gray speaker) icon on the input track to unmute it. +<BR> +4. click on the input routing button (see the tooltip, it looks like a tele plug) +on the input track and select an appropriate connection from your system. +<BR> +5. click on the output routing button on the input track and select +<SPAN CLASS="textbf">Track 1</SPAN> +<BR> +<BR> +Already after the meter on the input track should be able to display that there +is incoming sound from your sound source. If there actually is sound coming +from your sound source, that is. +<BR> +We are now nearly ready to start recording. First we need to select a location +to store the files. MusE does not use a centralized storage of soundfiles but +uses the path of the song-file (extension .med) as guidance as to where the +audio files should be placed. Now as it happens MusE will prohibit us from +starting a recording until the songfile has been stored. So lets take advantage +of this behaviour and just go ahead and try to record. Let's get started. +<BR> +In the mixer click on the red <SPAN CLASS="textbf">record</SPAN> dot on the Audio Track to arm it +for recording (or enable if you will). Now when there is audio coming into the +input it will also show up on the Audio Track. Also note that all the input and +output routing buttons on the tracks now have the same gray color, this means +that all of the tracks have a proper connection. + +<DIV ALIGN="CENTER"><A NAME="fig:Mixer_buttons"></A><A NAME="157"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.6:</STRONG> +Mixer buttons</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="217" HEIGHT="166" ALIGN="BOTTOM" BORDER="0" + SRC="./mixer_with_one_input_buttons.png" + ALT="Image mixer_with_one_input_buttons"></TD></TR> +</TABLE> +</DIV> + +<BR> +All fine and dandy. Now bring up the arranger window and find the round, red on +white <SPAN CLASS="textbf">record</SPAN> button and click on it. This is your queue to MusE to +prepare for recording. However since we have not saved our song we are presented +with a dialog to do just that. +<BR> +<DIV ALIGN="CENTER"><A NAME="fig:Save_song"></A><A NAME="163"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.7:</STRONG> +Save song</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="575" HEIGHT="405" ALIGN="BOTTOM" BORDER="0" + SRC="./project_my_first_song.png" + ALT="Image project_my_first_song"></TD></TR> +</TABLE> +</DIV> +Note the check box for creating a project folder, when working with audio this +is very much recommended or you may soon loose track of what audio files belong +to which song. +<BR> +Finally we are ready to start recording! The process is completed by clicking +on the <SPAN CLASS="textbf">Play</SPAN> button in the Arranger. If all went well MusE then starts +to record a wave file from the Input Track placed in your song directory. +<BR> +When you wish to stop recording press <SPAN CLASS="textbf">Stop</SPAN> in the Arranger, now the +resulting waveform should be visible in the Arranger. After rewinding the Play +position and pressing <SPAN CLASS="textbf">Play</SPAN> again the resulting sound should be audible +through the connected output. + +<P> + +<H1><A NAME="SECTION00320000000000000000"> +Basic overview</A> +</H1> +In this section we will make a step by step walk-through of all the +different editors, their purpose and what functions they support. + +<P> + +<H2><A NAME="SECTION00321000000000000000"> +Main/Arranger</A> +</H2> + +<P> +<A NAME="Main_Arranger"></A> + +<DIV ALIGN="CENTER"><A NAME="fig:Main_Window"></A><A NAME="174"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.8:</STRONG> +MusE main window</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="846" HEIGHT="571" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_annotated.png" + ALT="Image main_window_annotated"></TD></TR> +</TABLE> +</DIV> +Above is the main window of MusE, the Arranger, this is what greets you +when launching MusE. The Arranger consists of two main parts, the Track-pane +and the Arranger canvas. The Track-pane lists all currently visible tracks +and the Arranger canvas contains all Parts of the composition. The +screenshot above shows an empty project. Below is MusE with a song in +progress, turns out it wasn't a very good song, but for our purposes it +is fine. In the below screenshot there are a lot of tracks visible in the +Track-pane, each have an icon which indicate it's type, wave-track, input, +output etcetera, more about that later. In the Arranger canvas a number of +parts are visible, the ones in yellow are in this composition wave files, +the multicolored line are different Parts of a drum track. + +<P> + +<DIV ALIGN="CENTER"><A NAME="fig:Main_Window_with_arrangement"></A><A NAME="179"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.9:</STRONG> +MusE main window with arrangement</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="1051" HEIGHT="635" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_with_arrangement.png" + ALT="Image main_window_with_arrangement"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H2><A NAME="SECTION00322000000000000000"></A> <A NAME="mixer"></A> +<BR> +Mixer +</H2> +Choosing <SPAN CLASS="textbf">View > Mixer A</SPAN> or <SPAN CLASS="textbf">B</SPAN> from the menu in the main +window will bring up the mixer as viewed below. The mixer will open with +all options enabled, showing channel strips for all tracks in the current +setup, depending on how far you have gotten this view may become very large, +at which point it may be a good idea to limit what is viewed in the Mixer. +From the view menu all the different kinds of tracks can be toggled on/off +from the mixer. Some may find it a good idea to use the two mixers A and B +setup with different setup and store this in your song template(s), more +about this in the Song Template section. It can be argued that everything +in MusE is a track analogous to the Unix idiom that everything is a file. +The types of tracks visible in the mixer (and track-pane) are: + +<DIV ALIGN="CENTER"> +r0.5 +<IMG + WIDTH="672" HEIGHT="424" ALIGN="BOTTOM" BORDER="0" + SRC="./mixer.png" + ALT="Image mixer"> + +</DIV> + +<UL> +<LI>Audio output +</LI> +<LI>Audio input +</LI> +<LI>Group track +</LI> +<LI>Aux track +</LI> +<LI>Wave track +</LI> +<LI>Synth track +</LI> +<LI>Midi track +</LI> +</UL> + +<P> +There is also a Midi Track variation called Drum Track, they are +however not distinguishable from Midi Tracks in the Mixer. Also the +strips for midi tracks are different in the Mixer than in the +Track-pane view. + +<P> + +<H1><A NAME="SECTION00330000000000000000"> +Tracks and parts</A> +</H1> +MusE arranges your music in <SPAN CLASS="textit">tracks</SPAN> and <SPAN CLASS="textit">parts</SPAN>. The following +section shall provide you an overview of how things are done with MusE. +If you are or were a Cubase or Cakewalk user, you will feel familiar with +this. + +<P> + +<H2><A NAME="SECTION00331000000000000000"> +Tracks</A> +</H2> +There are two general classes of tracks: MIDI tracks and audio +tracks. MIDI tracks (and drum tracks which are internally MIDI tracks) +can hold note data. The Wave track is a type of audio track which holds +wave data. There are also several other kinds of audio tracks. + +<P> + +<H4><A NAME="SECTION00331010000000000000"> +MIDI tracks</A> +</H4> +MIDI and drum tracks hold MIDI event data. They don't differ much, +except that drum tracks offer a special editor which is more suitable +for drum editing. + +<P> + +<H4><A NAME="SECTION00331020000000000000"> +Wave tracks</A> +</H4> +They hold audio data which can be just played back or be piped through +effect plugin chains. They offer automation for these plugins. + +<P> + +<H4><A NAME="SECTION00331030000000000000"> +Audio input tracks</A> +</H4> +These provide the path for your audio data from outside into your +project. Set up the physical audio inputs you want to connect your +audio input track with, and then route the input tracks to various +other tracks such as wave tracks. + +<P> + +<H4><A NAME="SECTION00331040000000000000"> +Audio output tracks</A> +</H4> +These provide the path for your project's audio data to outside. Set +up the physical audio outputs you want to connect your audio out track +with, and then route various other tracks, such as wave tracks, to +the output tracks. + +<P> + +<H4><A NAME="SECTION00331050000000000000"> +Audio group tracks</A> +</H4> +Group tracks are like busses, where you can route other tracks to +them, then route the groups to other tracks. Since group tracks have +all the features of other audio tracks, like volume and pan, they +provide a convenient common routing point where you have control of +the sound before it is passed to other tracks. + +<P> + +<H4><A NAME="SECTION00331060000000000000"></A> <A NAME="aux_tracks"></A> +<BR> +Audio aux tracks +</H4> +These provide a more convenient way to mix several audio tracks +together. With each audio aux track added, other audio tracks will +gain a common send knob for adjusting the level sent to the aux +track. This can be more convenient than using several group tracks. + +<P> + +<H4><A NAME="SECTION00331070000000000000"> +Synthesizer tracks</A> +</H4> +This type of track is a software synthesizer which MIDI and drum tracks +can be assigned to. + +<P> + +<H4><A NAME="SECTION00331080000000000000"> +Creation</A> +</H4> +You can create a track by either right-clicking in the arranger's track list and then adding the desired track, or via the edit menu. + +<P> + +<H4><A NAME="SECTION00331090000000000000"> +Attributes</A> +</H4> +Tracks have several attributes: +<DL> +<DT><STRONG>Mute:</STRONG></DT> +<DD>If you click on the <SPAN CLASS="textit">Mute</SPAN> field (denoted with +a "M" column header), the track gets muted and stops producing sound. +</DD> +<DT><STRONG>Solo:</STRONG></DT> +<DD><A NAME="track_attr_solo"></A> The solo button ("S" column +header) singles out a track for listening. It mutes +some other tracks but may phantom solo others. +For more info see the section on soloing: <A HREF="#track_soloing">2.5</A> and +phantom soloing: <A HREF="#phantom_soloing">2.5.1</A> +</DD> +<DT><STRONG>Record:</STRONG></DT> +<DD>The R column "arms" your track for recording. +When you rec-arm your song and have no tracks rec-armed, you won't be +able to record anything. See also the config option "move rec-arm with selection". +</DD> +<DT><STRONG>Track name:</STRONG></DT> +<DD>Double-click to edit the track name. +</DD> +<DT><STRONG>Port:</STRONG></DT> +<DD>For MIDI tracks, this lets you select the MIDI +port to which the events should be routed. This can be your physical +synthesizer or a software synthesizer. For soft synths, this is the +port the synth is associated to. For other track types, this is disabled. +</DD> +<DT><STRONG>Channel:</STRONG></DT> +<DD>For MIDI tracks, this is the MIDI channel the +output is sent to. For any kind of audio tracks, this is the number of +channels (mono, stereo). + </DD> +<DT><STRONG>Automation:</STRONG></DT> +<DD><A NAME="track_attr_automation"></A> For audio tracks, +this lets you set up the automation display in the arranger. +(See automation <A HREF="#audio_automation">2.7.1</A>). Clicking this will provide you +with a popup menu with lots of submenus. Clicking on a submenu will +select or unselect it showing or hiding the automation parameter as a +graph overlaid on top of the track. +<BR> +The submenus let you select the color you want to associate with the +automation parameter. There you can also assign midi controllers to +the parameters, a dialog is shown where you can manually choose the +midi controller, with a <SPAN CLASS="textit">learn</SPAN> button to 'listen for' and +automatically recognize any midi controller operated by you. + +<P> +</DD> +<DT><STRONG>Clef:</STRONG></DT> +<DD>For MIDI tracks, you can specify a clef here. This +only affects the score editor. + +<P> +</DD> +</DL> + +<P> + +<H3><A NAME="SECTION00331100000000000000"> +The trackinfo side bar</A> +</H3> +In the arranger and the part editors, you'll have a trackinfo sidebar +on the left side. You can set up track-type specific things there. + +<P> + +<H4><A NAME="SECTION00331110000000000000"></A> <A NAME="midi_trackinfo_sidebar"></A> +<BR> +MIDI trackinfo sidebar +</H4> +The MIDI trackinfo sidebar lets you change program, volume, pan and +more. This sidebar can also be viewed at the left of the pianoroll +editor. + +<H5><A NAME="SECTION00331111000000000000"> +Old style drum tracks:</A> +</H5> +These are MIDI tracks as well, but with a few differences. They allow +you to map certain drum sounds with different input notes, and you +can change the output settings of a certain "drum instrument" without +having to alter each single event. + +<P> +However, they have certain limitations: They only can handle 128 sounds +(even if you have more synthes), they aren't really compatible with +MIDI tracks (you can interchange parts between them, but if you touched +the drum list, you'll get unexpected results), you can't set a program +for the used channel and more. + +<P> + +<H3><A NAME="SECTION00331200000000000000"> +New style drum tracks</A> +</H3> +Because of these limitations, we introduced the new-style drum tracks. +They're not fully compatible with the old drum tracks, so the old are +still retained. Under "Global Settings", "GUI settings", you can set +up whether you prefer the old or new. + +<P> +They are handled exactly like plain MIDI tracks (staying compatible with +them), and offer all of the functionality, though in a different way. +They allow you to re-order the drum map efficiently, you can open parts +from multiple drum tracks in <SPAN CLASS="textit">one</SPAN> drum editor (MusE will separate +the sounds from different tracks according to your settings, see the +"Window Config" menu), and you can set programs as with normal MIDI tracks. + +<P> + +<H5><A NAME="SECTION00331201000000000000"> +MIDI trackinfo controls:</A> +</H5> +<DL> +<DT><STRONG>Output port:</STRONG></DT> +<DD>This drop-down list selects the midi port +to send midi output from this track. +</DD> +<DT><STRONG>Output channel:</STRONG></DT> +<DD>This box selects the midi channel to be +used on the output port. +</DD> +<DT><STRONG>Input and output routing:</STRONG></DT> +<DD>Selects midi ports and +channels to receive midi from, and soloing paths. (See Routes +<A HREF="#routes">2.4</A>). +</DD> +<DT><STRONG>Midi through:</STRONG></DT> +<DD>This button selects whether midi input is +passed through to the selected output port. +<BR> +Depending on your midi devices and settings, there are cases when +this should be off such as using the same port and channel for +input and output (otherwise a double-note <SPAN CLASS="textit">echo</SPAN> will be heard), +and cases when it must be on such as when using a synthesizer track +as output device. +</DD> +<DT><STRONG>Input detect indicator:</STRONG></DT> +<DD>Blinks when midi activity is +detected on the selected midi channels on the selected midi input +ports. +</DD> +<DT><STRONG>Transpose:</STRONG></DT> +<DD>This transposes midi input notes up or down +in pitch. This is very useful if your midi keyboard hasn't enough +keys or the selected output device plays an octave too low or high, +and you would like to shift the octave of the incoming notes to +compensate. +</DD> +<DT><STRONG>Delay:</STRONG></DT> +<DD>Adjusts the delay of the notes. +</DD> +<DT><STRONG>Length:</STRONG></DT> +<DD>Adjusts the length of the notes. +</DD> +<DT><STRONG>Velocity:</STRONG></DT> +<DD>Adjusts the velocity of incoming notes. +Use it to compensate for a too-loud or too-soft keyboard. +</DD> +<DT><STRONG>Compression:</STRONG></DT> +<DD>Adjusts the compression of incoming note +velocities. Use it to make soft incoming notes louder, and loud +notes not so loud. +</DD> +<DT><STRONG>Instrument:</STRONG></DT> +<DD>Selects the midi instrument patch to be used +by the selected output port. This is equivalent of dialing the patch +in the bank and program boxes, except it displays a more friendly +patch <SPAN CLASS="textit">name</SPAN> as defined by the selected output port's midi +instrument. See instruments, or port configuration +<A HREF="#midi_port_config">2.8.1</A> +</DD> +<DT><STRONG>H-Bank:</STRONG></DT> +<DD>Selects the high bank number of the current patch. +</DD> +<DT><STRONG>L-Bank:</STRONG></DT> +<DD>Selects the low bank number of the current patch. +</DD> +<DT><STRONG>Prog:</STRONG></DT> +<DD>Selects the program number of the current patch. +</DD> +<DT><STRONG>Volume:</STRONG></DT> +<DD>Adjusts the midi volume controller. +</DD> +<DT><STRONG>Pan:</STRONG></DT> +<DD>Adjusts the midi pan controller. +</DD> +</DL> +The buttons beside the Prog, Volume, and Pan boxes store the value, +at the current transport position, for midi automation. (See +automation <A HREF="#midi_automation">2.7.1</A>). + +<P> +Note that the 'Prog' button stores H-Bank and L-Bank along with +'Prog' value, so there are no H-Bank and L-Bank buttons. + +<P> +The 'All' button simply stores all three Program (and banks), Volume, +and Pan values at once. + +<P> +<SPAN CLASS="textit">Tip:</SPAN> If the Song Type is GM, GS, or XG, you may need to store +desired values at transport position zero, otherwise your adjustments +may be overriden by the instrument when the transport is moved back +to position zero. If this behaviour is undesired, you can set the +Song Type to 'NO' meaning no song type. + +<P> + +<H4><A NAME="SECTION00331210000000000000"> +Audio trackinfo sidebar</A> +</H4> +Unlike the midi trackinfo sidebar, the audio trackinfo side bar +is nothing more than an embedded audio mixer strip, the exact same +strip as found in the mixers. (See mixer <A HREF="#mixer">2.2.2</A>). + +<H5><A NAME="SECTION00331211000000000000"> +Effects rack:</A> +</H5> +On the top of the audio trackinfo sidebar, there is an effects rack +which allows you to apply various plugins on the audio. For more +information on this, refer to <A HREF="#effects_rack">2.6.1</A>. + +<P> + +<H2><A NAME="SECTION00332000000000000000"> +Parts</A> +</H2> +Within MIDI, drum and wave tracks, you can create <SPAN CLASS="textit">parts</SPAN>. Parts +are chunks of coherent notes or wave data which can be moved around, +copied, cloned and deleted independent from other parts. + +<P> +Parts are created by selecting the pencil tool and then drawing onto +the right part area in the arranger. You can move them with the arrow +tool, delete them using the <SPAN CLASS="textbf">DEL</SPAN> key, and a right-click opens +a popup menu. This menu allows you even more stuff, such as setting +the part's color, saving the part to disk etc.. You can use +<SPAN CLASS="textbf">CTRL+C</SPAN> and <SPAN CLASS="textbf">CTRL+V</SPAN> for copying and pasting parts. +<SPAN CLASS="textbf">CTRL+B</SPAN> pastes the part as a clone. Pressing <SPAN CLASS="textbf">SHIFT</SPAN> +additionally provides you a dialog which allows you to paste the part +multiple times and set more stuff. + +<P> +You can also copy parts with the mouse by moving the part with the mouse +while holding down the <SPAN CLASS="textbf">CTRL</SPAN> key. + +<P> + +<H1><A NAME="SECTION00340000000000000000"></A> <A NAME="routes"></A> +<BR> +Routes +</H1> +Routes are how tracks are connected together and to the outside world. +(They are also how Jack midi ports connect to the outside world. See +midi port configuration <A HREF="#midi_port_config">2.8.1</A>). +Each track strip has two buttons whose icons look like plugs. One button +is for input routing and the other is for output routing. Clicking on +these buttons will pop up a menu of available input or output routes that +you can connect to. Most audio tracks list other tracks to connect to, +but audio input and output tracks are special: Audio input track input +routing menus list available Jack audio input ports. Conversely audio +output track output routing menus list available Jack audio output ports. + +<P> + +<DIV ALIGN="CENTER"> +r0.25 +<IMG + WIDTH="231" HEIGHT="318" ALIGN="BOTTOM" BORDER="0" + SRC="./output_routing.png" + ALT="Image output_routing"> + +</DIV> + +<P> +Meanwhile MIDI and drum tracks allow you to route available MIDI ports +and channels to the track using a handy popup matrix. + +<P> + +<DIV ALIGN="CENTER"> +r0.25 +<IMG + WIDTH="522" HEIGHT="158" ALIGN="BOTTOM" BORDER="0" + SRC="./midi_routing_matrix.png" + ALT="Image midi_routing_matrix"> + +</DIV> + +<P> + +<H2><A NAME="SECTION00341000000000000000"></A> <A NAME="anti_circular_routing"></A> +<BR> +Anti circular routing +</H2> +Any routing menu item which would cause a circular routing condition +is grayed out. Find out why the condition would exist by examining +routing paths involved and correct the situation if required. + +<P> +Also, you cannot use a track's aux sends if the track has an input +route path from ANY Aux Track. (See aux tracks <A HREF="#aux_tracks">2.3.1</A>). +Aux send knobs and labels are disabled in that case. + +<P> + +<H2><A NAME="SECTION00342000000000000000"></A> <A NAME="soloing_chain_routes"></A> +<BR> +Soloing chain routes +</H2> +Soloing chains (see solo chains <A HREF="#soloing_chains">2.5.2</A>) are really just +routes like any other. The available solo chaining paths are displayed +in the routing popup menus. + +<P> + +<H1><A NAME="SECTION00350000000000000000"></A> <A NAME="track_soloing"></A> +<BR> +Track soloing +</H1> +Soloing allows you to single out a track for listening while muting others, +without you having to mute the other tracks. (See soloing track attribute +<A HREF="#track_attr_solo">2.3.1</A>). + +<P> + +<H2><A NAME="SECTION00351000000000000000"></A> <A NAME="phantom_soloing"></A> +<BR> +Phantom soloing +</H2> +In order to solo a track and mute others so that it is heard, MusE +employs 'phantom' soloing: When a track is soloed, MusE automatically +solos all tracks routed to and from this track. (See routes +<A HREF="#routes">2.4</A>). A phantom soloed track is indicated by a black square +in the track pane solo column. (See track attributes +<A HREF="#track_attr_solo">2.3.1</A>). + +<P> + +<DIV ALIGN="CENTER"><A NAME="fig:Soloing"></A><A NAME="295"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.10:</STRONG> +Soloing, with phantom soloing</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="529" HEIGHT="476" ALIGN="BOTTOM" BORDER="0" + SRC="./soloing_window.png" + ALT="Image soloing_window"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H2><A NAME="SECTION00352000000000000000"></A> <A NAME="soloing_chains"></A> +<BR> +Soloing chains +</H2> +When an audio output track sends audio to some external entity, such +as an external running application, and audio from the external entity +is fed back into a MusE audio input track, solo chains allow you to +solo the input or output, and MusE will complete the path automatically +soloing the other, and all paths that came before or after it. + +<P> +Solo chains also work with MIDI tracks chained to audio inputs: +When a MIDI track drives some MIDI device whose audio is fed into MusE, +solo chains allow the entire chain to be soloed. + +<P> +Solo chains are accessed via routing menus. (See solo chain routes +<A HREF="#soloing_chain_routes">2.4.2</A>). + +<P> + +<H1><A NAME="SECTION00360000000000000000"></A> <A NAME="plugins"></A> +<BR> +Plugins +</H1> +Plugins are small add-ons which can process a track's data. + +<P> +MIDI plugins operate on midi and drum tracks, and are found in +the <SPAN CLASS="textbf">Midi</SPAN> menu. + +<P> +Audio plugins can be applied to any track handling audio (that is, +inputs, outputs, wave tracks, synth tracks). The effects rack +section describes this. (See effects rack <A HREF="#effects_rack">2.6.1</A>). + +<P> + +<H2><A NAME="SECTION00361000000000000000"></A> <A NAME="effects_rack"></A> +<BR> +The audio effects rack +</H2> +All audio track types (Input, Output, Group, Wave, Synth, and Aux) have +an effects rack into which audio plugins can be inserted in a chain. +Currently each rack can accomodate up to four plugins. + +<P> +MusE currently supports LADSPA plugins and DSSI synth and effects +plugins. + +<P> +Plugins can be added by double-clicking on an entry in the effect rack +in the track info pane (which is shown at the left side of the arranger +when the according track is selected). Right-clicking the rack items +offers a self-explanatory popup menu. + +<P> +All plugin controls can be automated. (See audio automation +<A HREF="#audio_automation">2.7.1</A>). + +<P> +One must carefully consider how many audio inputs and outputs a plugin +has, and how may channels the particular audio track has (1 mono or +2 stereo), and how MusE uses the plugins in the rack. + +<P> +Learn more about this in the appendix Understanding the Effects Rack: +<A HREF="#apx_effects_rack">3</A> + +<P> + +<H3><A NAME="SECTION00361100000000000000"></A> +<A NAME="plugin_guis"></A> +<BR> +Audio plugin Graphical User Interfaces (GUIs) +</H3> Once a plugin is added, you need a way to +manipulate its controls, which affect its behaviour and operate +on the sound. + +<P> +MusE can show a generic GUI which contains all of the +plugin's controls arranged in a rather plain generic fashion. + +<P> +Some plugins may also have a native GUI which looks much better (it +was specifically designed for the plugin). + +<P> +Both GUI types are opened from the effects rack right-click popup menu. + +<P> + +<H1><A NAME="SECTION00370000000000000000"></A> <A NAME="automation"></A> +<BR> +Automation +</H1> +Automation is the ability to record (or construct) and playback +exact sequences of control movements. + +<P> +MIDI and audio automation are each currently uniquely different, +but share some similarities. + +<P> + +<H2><A NAME="SECTION00371000000000000000"></A> <A NAME="audio_automation"></A> +<BR> +Audio automation +</H2> +Almost all graphical audio controls in MusE can be automated. + +<P> +This includes an audio track's volume and pan, and the controls +of any plugins in the effects rack, and if the track is a +synthesizer track, all of the synth's controls. + +<P> +Each control has a manual adjustment value. This value is shown +when there is no automation data at all, or automation has been +disabled. + +<P> +For plugin and synth controls, it is usually more desirable to +manipulate automation with the generic plugin GUIs, because +MusE has full control over their behaviour. (See plugin GUIs +<A HREF="#plugin_guis">2.6.1</A>). + +<P> +There are a few ways to enter audio automation data: + +<UL> +<LI>By adjusting audio controls while the transport is rolling. +MusE will record the exact movements. +</LI> +<LI>By adjusting audio controls while the transport is stopped, +at different transport positions. TOUCH mode allows this. +</LI> +<LI>By right-clicking any audio control and choosing an operation +from the automation popup menu. This includes storing, erasing, +and clearing automation events, and seeking the next or previous +event. +</LI> +<LI>By drawing the data on the audio track's automation graphs. +(See track automation <A HREF="#track_attr_automation">2.3.1</A>). +</LI> +</UL> +<H4><A NAME="SECTION00371010000000000000"> +Audio automation modes</A> +</H4> +Each audio track strip has an automation mode button +at the bottom. There are four automation modes: +<DL> +<DT><STRONG>OFF:</STRONG></DT> +<DD>Disables all automation, uses manual value always. +</DD> +<DT><STRONG>READ:</STRONG></DT> +<DD>Automation data is applied to controls. If any +automation data exists, the manual value is overridden and has +no effect. +</DD> +<DT><STRONG>TOUCH:</STRONG></DT> +<DD>Allows you to alter a control at any time, while +transport is stopped or rolling, If rolling, when the control is +released it returns to reading from automation data. +</DD> +<DT><STRONG>WRITE:</STRONG></DT> +<DD>Allows to adjust an initial value before rolling +the transport. While rolling, when the control is released it does +not return to reading from automation data. +</DD> +</DL> +Here is a screenshot of automation WRITE mode, and some automation +data, with the track pane automation popup menu showing (see track +automation <A HREF="#track_attr_automation">2.3.1</A>): + +<DIV ALIGN="CENTER"><A NAME="fig:audio_automation"></A><A NAME="329"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.11:</STRONG> +Audio automation graphs</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="782" HEIGHT="524" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_with_automation.png" + ALT="Image main_window_with_automation"></TD></TR> +</TABLE> +</DIV> + +<P> +<A NAME="midi_automation"></A> +<H2><A NAME="SECTION00372000000000000000"> +Midi automation</A> +</H2> +MIDI automation is a slightly different concept: Unlike audio +automation, currently there is no automation 'mode' and it doesn't +record graphical control movements. Data is viewed from within +the pianoroll and drum editors, by clicking on the 'Ctrl' button +on those canvases. + +<P> +Similar to audio controls, each midi control has a manual adjustment +value. This value is overridden when there is midi automation data. + +<P> +There are a few ways to enter MIDI automation data: + +<UL> +<LI>By adjusting external MIDI controls (such as a midi keyboard +pitch or modulation wheel) while the transport is rolling and both +the transport and midi track are in record mode. MusE will record +the exact movements. As mentioned earlier, note that graphical control +movements are not recorded. +</LI> +<LI>By right-clicking any midi control and choosing an operation +from the automation popup menu. This includes storing and erasing +automation events. +</LI> +<LI>By adjusting volume, pan, bank or program boxes in the midi +trackinfo panel and clicking the corresponding volume, pan, or +program buttons. (See midi trackinfo <A HREF="#midi_trackinfo_sidebar">2.3.1</A>). +</LI> +<LI>By drawing the data on a midi part's automation graphs. +</LI> +</UL> +Here is a screen shot of a midi track, containing a midi part +which has been opened with the pianoroll editor and automation +data showing. + +<P> +The 'Ctrl' popup menu (bottom left) shows available midi controllers +and the green dot indicates there is some data. + +<P> + +<DIV ALIGN="CENTER"><A NAME="fig:midi_automation"></A><A NAME="339"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.12:</STRONG> +MIDI automation graphs</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="628" HEIGHT="620" ALIGN="BOTTOM" BORDER="0" + SRC="./main_window_with_midi_automation.png" + ALT="Image main_window_with_midi_automation"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H1><A NAME="SECTION00380000000000000000"> +Configuration</A> +</H1> + +<P> + +<H2><A NAME="SECTION00381000000000000000"> +MIDI ports</A> +</H2> +MIDI ports provide an abstraction layer for your MIDI hardware and +synthesizers (which can be both software and hardware synthesizers), +and other MIDI applications. Port are numbered. In order to produce +sound, each MIDI track is assigned to exactly one MIDI port, to which +the MIDI events are then sent. + +<P> +The advantage of this abstraction layer is that if your system changes, +for example you change MIDI hardware, then you need only modify the +ports instead of all the tracks using those ports. This is similar +to the audio input and output track abstraction to the outside world. + +<P> +<A NAME="midi_port_config"></A> +<H4><A NAME="SECTION00381010000000000000"> +MIDI port configuration</A> +</H4> +In the midi/softsynth configuration menu, you must map the port numbers +to the actual devices (by selecting ALSA or jack midi ports, or synth +plugins). + +<P> +Try left-clicking on the "Ports" column of some MIDI track. +If you use a soft synth, right-clicking the Ports column of the synth +or any track using the synth lets you launch the synth's GUI. + +<P> + +<DIV ALIGN="CENTER"><A NAME="fig:midi_config_window"></A><A NAME="348"></A> +<TABLE> +<CAPTION ALIGN="BOTTOM"><STRONG>Figure 2.13:</STRONG> +Midi configuration window</CAPTION> +<TR><TD> +<DIV ALIGN="CENTER"> + +</DIV><IMG + WIDTH="865" HEIGHT="597" ALIGN="BOTTOM" BORDER="0" + SRC="./midi_config_window.png" + ALT="Image midi_config_window"></TD></TR> +</TABLE> +</DIV> + +<P> + +<H4><A NAME="SECTION00381020000000000000"> +Columns in the MIDI configuration ports list:</A> +</H4> +<DL> +<DT><STRONG>GUI:</STRONG></DT> +<DD>For synthesizer devices, indicates if a gui is available +and if it is showing. Click to show. +</DD> +<DT><STRONG>I:</STRONG></DT> +<DD>If present, the port can accept MIDI input. Click to +enable or disable it. +</DD> +<DT><STRONG>O:</STRONG></DT> +<DD>If present, the port can send MIDI output. Click to enable +or disable it. +</DD> +<DT><STRONG>Instrument:</STRONG></DT> +<DD>Selects the instrument to be used when MIDI is +played through the port. +</DD> +<DT><STRONG>Device name:</STRONG></DT> +<DD>Selects or creates a MIDI device assigned to the +port. These can be Jack MIDI devices or ALSA MIDI devices (if ALSA is +enabled), or soft synthesizers. Jack MIDI devices are created by selecting +Create Jack Device from the Device name drop-down menu. Jack MIDI devices +can be renamed as you wish by clicking the device name. Soft synthesizers +are created by clicking in the soft synthesizer list and then Add +Instance. Or you can simply create a new synthesizer track from the +arranger track list, or even the mixer menus. +</DD> +<DT><STRONG>In and Out routes:</STRONG></DT> +<DD>These are for Jack MIDI devices, they are +the routes to and from available Jack MIDI ports. Jack may provide +different alias names for these ports, you can select which alias +is shown. +</DD> +<DT><STRONG>Default in channels:</STRONG></DT> +<DD>Auto-connect these port channels to +new midi or drum tracks. +</DD> +<DT><STRONG>Default out channel:</STRONG></DT> +<DD>Auto-connect new midi or drum tracks +to this channel on the port. +</DD> +<DT><STRONG>State:</STRONG></DT> +<DD>Indicates the state of the port including any errors +opening it. +</DD> +</DL> + +<P> + +<H2><A NAME="SECTION00382000000000000000"> +Global settings</A> +</H2> + +<H3><A NAME="SECTION00382100000000000000"> +Audio settings</A> +</H3> + +<H4><A NAME="SECTION00382110000000000000"> +Minimum control period</A> +</H4> +Plugins can usually process an arbitrarily small (or large) amount +of samples. If some plugin control value changes continously, to provide +ideal listening experience, MusE would need to call the plugin 44100 +times a second, asking for one single value at a time. With the minimum +control period setting, the user can force MusE to ask the plugin for +at least N values. Setting this value to 64 would in this situation +make MusE call the plugin <!-- MATH + $689=\frac{44100}{64})$ + --> +<SPAN CLASS="MATH"><IMG + WIDTH="91" HEIGHT="35" ALIGN="MIDDLE" BORDER="0" + SRC="img1.png" + ALT="$689=\frac{44100}{64})$"></SPAN> times a second, +asking for 64 values at a time. While doing this will reduce accuracy +of control changes, it may also reduce CPU usage, because calling +the plugin more often, requesting smaller chunks, is more expensive +than calling it seldomly, requesting larger chunks. + +<H5><A NAME="SECTION00382111000000000000"> +Recommendation</A> +</H5> +If you have no performance problems, or if you want to do the final +downmix of your project, set this to a low value. If you're experiencing +performance problems, increasing this value might help. + +<P> + +<H1><A NAME="SECTION00400000000000000000"></A> +<A NAME="apx_effects_rack"></A> +<BR> +Appendix +</H1> +<H1><A NAME="SECTION00410000000000000000"> +Understanding the effects rack</A> +</H1> +One must carefully consider how many audio inputs and outputs a plugin +has, and how may channels the particular audio track has (1 mono or +2 stereo), and how MusE uses the plugins in the rack. + +<P> +MusE will try to internally create as many independent copies +(instances) of a plugin as necessary, to satisfy the number of channels +in the audio track. +Basically it divides the number of track channels by the number of +plugin audio inputs or outputs to determine how many copies to make. +First it examines the number of plugin audio outputs, and if there are +none, it will examine the number of audio inputs, and if there are +none, it will simply use just one plugin copy. + +<P> +For mono tracks with plugins having more than one audio input or +output, MusE uses the first input or output and ignores the rest. + +<P> +For stereo tracks: + +<P> +<TABLE CELLPADDING=3 BORDER="1"> +<TR><TD ALIGN="CENTER">plugin inputs</TD> +<TD ALIGN="CENTER">outputs</TD> +<TD ALIGN="CENTER">copies</TD> +<TD ALIGN="CENTER">track in route channels</TD> +<TD ALIGN="CENTER">track out route channels</TD> +</TR> +<TR><TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">0</TD> +</TR> +<TR><TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">0</TD> +</TR> +<TR><TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">1 (L only)</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">0</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">0</TD> +</TR> +<TR><TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +<TR><TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">>=2</TD> +<TD ALIGN="CENTER">1</TD> +<TD ALIGN="CENTER">2</TD> +<TD ALIGN="CENTER">2</TD> +</TR> +</TABLE> + +<P> +Notice that on a stereo track with a plugin having one audio input and +two audio outputs, only the first track input route channel is used +(left only). + +<P> +These same rules apply to inter-plugin audio when more than one plugin +is in the rack chain. Extra audio outputs of one plugin may be ignored +by the next plugin if not used. + +<P> +Currently specialized plugins with many inputs and/or outputs are not +really useful in MusE. + +<P> +Nor are so-called 'realtime' control plugins which use audio inputs +and outputs for control signals. + +<P> +Loud noise alert! Beware of using such plugins in an audio effects +rack. + +<P> +Example: Consider a stereo Audio Input track with these effect rack + LADSPA plugins: + +<P> + +<UL> +<LI>comb_splitter Comb Splitter by Steve Harris +</LI> +<LI>tap_stereo_echo Tap Stereo Echo by Tom Szilagyi +</LI> +</UL> + +<P> +The Comb Splitter has one audio input and two audio outputs. +The Stereo Echo has two audio inputs and two audio outputs. + +<P> +The stereo Audio Input track will therefore ignore its second +input route connection. It will process the left input only, +separating it into stereo with the Comb Splitter, passing the +split stereo signal into the Stereo Echo, finally producing +stereo output available at the Audio Input track's output routes. + +<P> +One improvement would be not creating unused redundant plugin copies +between plugins in stereo tracks. +For example, for a plugin having one audio input and one audio output, +feeding a plugin having one audio input and two audio outputs, +the extra copy of the first plugin is redundant and not required, +but currently it is created anyway. +<BR><HR> + +</BODY> +</HTML> diff --git a/muse2/doc/html/single/documentation/main_window_add_track.png b/muse2/doc/html/single/documentation/main_window_add_track.png Binary files differnew file mode 100644 index 00000000..7750ca7f --- /dev/null +++ b/muse2/doc/html/single/documentation/main_window_add_track.png diff --git a/muse2/doc/html/single/documentation/main_window_annotated.png 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