From 0f0ae515af4b242e7a3afc9a7631bf0f27f46d87 Mon Sep 17 00:00:00 2001 From: "Tim E. Real" Date: Fri, 22 Feb 2013 06:51:28 +0000 Subject: HTML files --- .../html/single/documentation/documentation.html | 1702 ++++++++++++++++++++ 1 file changed, 1702 insertions(+) create mode 100644 muse2/doc/html/single/documentation/documentation.html (limited to 'muse2/doc/html/single/documentation/documentation.html') 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 @@ + + + + + +MusE Documentation + + + + + + + + + + + + + + + +
+ +

+
+ +
Image muse2 + +
+
+ +

+Contents +

+ + + + +

+What is this? +

+You are, if you have printed this document, holding in your hand the +written documentation for the audio and midi sequencer MusE version 2. +
http://www.muse-sequencer.org 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. + +

+User's manual +

+ +

+ +

+Introduction +

+ +

+A brief history of computer audio and MusE +

+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. + +

+ +

+Definitions +

+CTRL refers to the control key on the keyboard, e.g. CTRL+C +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!). +
SHIFT refers to the shift key on the keyboard, see above for usage +
ALT refers to the alt key on the keyboard, see above for usage +
$> 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. +
+Keys are always referred to in bold uppercase, e.g. A. For instance +SHIFT+A for the key a pressed together with the shift key. +
+Sometimes terminal examples are written tabbed in with a fixed font to +visualize more closely what something looks like on the screen. +E.g. +
$> muse2 +
+

+ +

+Getting up and running for impatient people +

+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: +
$> jackd -d alsa -d hw:0 -p 256 +
+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 + +

+muse2. +
+If this didn't work out read on for the slightly more complete route for +getting things started. + +

+ +

+Getting up and running +

+ +

+Installation from binaries +

+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. + +

+Installation from source +

+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). +
+Please follow the README in the source package and/or read the instructions +on the homepage: http://muse-sequencer.org/index.php/Installation +

+ +

+Hardware +

+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: + + +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. + +

+Launching +

+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. + +

+Audio preconditions +

+In the standard case MusE expects to find and connect to the Jack audio +server http://jackaudio.org. 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. + +
    +
  1. By default on most distros only the superuser lets applications setup +realtime capabilities. Please see the APPENDIX for setting up realtime +
    2. +
  2. 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. +
    3. +
+ +

+ +

+Running MusE +

+Find MusE in the menu or open a terminal and enter muse2. + +

+$> muse2 +
+A splash screen should pop up followed +by the main application window and you are off! +
+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. + +

+ + + +
Figure 2.1: +Jack server missing
+
+ +
Image no_audio
+
+ +

+Midi only +

+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: +$> muse2 -a + +

+ +

+ALSA midi with Jack +

+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: $> muse2 -A + +

+ +

+Beginners tutorial +

+To get a quick grip of what MusE can achieve please follow this beginners +tutorial. + +

+Midi Setup +

+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. + +

+Soft synth test +

+With MusE up and running right click in the Track-pane (see +Fig. 2.8) and select +Add Synth > MESS > vam soft synth. +A Soft Synth track called vam-0 should appear as well as a separate GUI +for the synthesizer. + +

+Now right click once more in the Track-pane and select Add Midi +Track. 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. + +

+ +

+r0.05 +Image arrow_tool + +
+Now select the drawing tool icon +from the toolbar, alternatively press the shortcut key D. +Move the mouse over to the arranger canvas as referenced in +Fig. 2.8 +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) + +
+ + + +
Figure 2.2: +vam synthesizer
+
+ +
Image vam_synth
+
+ +

+ +

+Missing sound +

+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. + +
+ + + +
Figure 2.3: +Midi editor view
+
+ +
Image main_window_with_midi_editor_vam
+
+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: + +

+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. + +

+r0.25 +Image output_routing + +
+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. +
+
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. + +

+ +

+Recording Midi +

TBD + +

+Recording Audio +

+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. +
+
+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. +
+When MusE is first started right click in an empty space on the track view + +
+ + + +
Figure 2.4: +Add track
+
+ +
Image main_window_add_track
+
+and select Add Audio Input. Right click again and also select +Add Wave Track. Two additional tracks are now visible in the Arranger, +"Input 1" and "Track 1", bring up the mixer with F10 and you should see +the following configuration. + +
+ + + +
Figure 2.5: +Mixer with one input
+
+ +
Image mixer_with_one_input
+
+ +
+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. +
+1. click on the stereo symbol over the slider to change the input to a mono track. +
+2. do the same for the wave track (optional) +
+3. click on the Mute (gray speaker) icon on the input track to unmute it. +
+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. +
+5. click on the output routing button on the input track and select +Track 1 +
+
+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. +
+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. +
+In the mixer click on the red record 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. + +
+ + + +
Figure 2.6: +Mixer buttons
+
+ +
Image mixer_with_one_input_buttons
+
+ +
+All fine and dandy. Now bring up the arranger window and find the round, red on +white record 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. +
+
+ + + +
Figure 2.7: +Save song
+
+ +
Image project_my_first_song
+
+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. +
+Finally we are ready to start recording! The process is completed by clicking +on the Play 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. +
+When you wish to stop recording press Stop in the Arranger, now the +resulting waveform should be visible in the Arranger. After rewinding the Play +position and pressing Play again the resulting sound should be audible +through the connected output. + +

+ +

+Basic overview +

+In this section we will make a step by step walk-through of all the +different editors, their purpose and what functions they support. + +

+ +

+Main/Arranger +

+ +

+ + +

+ + + +
Figure 2.8: +MusE main window
+
+ +
Image main_window_annotated
+
+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. + +

+ +

+ + + +
Figure 2.9: +MusE main window with arrangement
+
+ +
Image main_window_with_arrangement
+
+ +

+ +

+
+Mixer +

+Choosing View > Mixer A or B 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: + +
+r0.5 +Image mixer + +
+ + + +

+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. + +

+ +

+Tracks and parts +

+MusE arranges your music in tracks and parts. 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. + +

+ +

+Tracks +

+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. + +

+ +

+MIDI tracks +

+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. + +

+ +

+Wave tracks +

+They hold audio data which can be just played back or be piped through +effect plugin chains. They offer automation for these plugins. + +

+ +

+Audio input tracks +

+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. + +

+ +

+Audio output tracks +

+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. + +

+ +

+Audio group tracks +

+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. + +

+ +

+
+Audio aux tracks +

+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. + +

+ +

+Synthesizer tracks +

+This type of track is a software synthesizer which MIDI and drum tracks +can be assigned to. + +

+ +

+Creation +

+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. + +

+ +

+Attributes +

+Tracks have several attributes: +
+
Mute:
+
If you click on the Mute field (denoted with +a "M" column header), the track gets muted and stops producing sound. +
+
Solo:
+
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: 2.5 and +phantom soloing: 2.5.1 +
+
Record:
+
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". +
+
Track name:
+
Double-click to edit the track name. +
+
Port:
+
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. +
+
Channel:
+
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). +
+
Automation:
+
For audio tracks, +this lets you set up the automation display in the arranger. +(See automation 2.7.1). 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. +
+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 learn button to 'listen for' and +automatically recognize any midi controller operated by you. + +

+

+
Clef:
+
For MIDI tracks, you can specify a clef here. This +only affects the score editor. + +

+

+
+ +

+ +

+The trackinfo side bar +

+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. + +

+ +

+
+MIDI trackinfo sidebar +

+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. + +
+Old style drum tracks: +
+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. + +

+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. + +

+ +

+New style drum tracks +

+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. + +

+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 one 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. + +

+ +

+MIDI trackinfo controls: +
+
+
Output port:
+
This drop-down list selects the midi port +to send midi output from this track. +
+
Output channel:
+
This box selects the midi channel to be +used on the output port. +
+
Input and output routing:
+
Selects midi ports and +channels to receive midi from, and soloing paths. (See Routes +2.4). +
+
Midi through:
+
This button selects whether midi input is +passed through to the selected output port. +
+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 echo will be heard), +and cases when it must be on such as when using a synthesizer track +as output device. +
+
Input detect indicator:
+
Blinks when midi activity is +detected on the selected midi channels on the selected midi input +ports. +
+
Transpose:
+
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. +
+
Delay:
+
Adjusts the delay of the notes. +
+
Length:
+
Adjusts the length of the notes. +
+
Velocity:
+
Adjusts the velocity of incoming notes. +Use it to compensate for a too-loud or too-soft keyboard. +
+
Compression:
+
Adjusts the compression of incoming note +velocities. Use it to make soft incoming notes louder, and loud +notes not so loud. +
+
Instrument:
+
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 name as defined by the selected output port's midi +instrument. See instruments, or port configuration +2.8.1 +
+
H-Bank:
+
Selects the high bank number of the current patch. +
+
L-Bank:
+
Selects the low bank number of the current patch. +
+
Prog:
+
Selects the program number of the current patch. +
+
Volume:
+
Adjusts the midi volume controller. +
+
Pan:
+
Adjusts the midi pan controller. +
+
+The buttons beside the Prog, Volume, and Pan boxes store the value, +at the current transport position, for midi automation. (See +automation 2.7.1). + +

+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. + +

+The 'All' button simply stores all three Program (and banks), Volume, +and Pan values at once. + +

+Tip: 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. + +

+ +

+Audio trackinfo sidebar +

+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 2.2.2). + +
+Effects rack: +
+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 2.6.1. + +

+ +

+Parts +

+Within MIDI, drum and wave tracks, you can create parts. Parts +are chunks of coherent notes or wave data which can be moved around, +copied, cloned and deleted independent from other parts. + +

+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 DEL 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 +CTRL+C and CTRL+V for copying and pasting parts. +CTRL+B pastes the part as a clone. Pressing SHIFT +additionally provides you a dialog which allows you to paste the part +multiple times and set more stuff. + +

+You can also copy parts with the mouse by moving the part with the mouse +while holding down the CTRL key. + +

+ +

+
+Routes +

+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 2.8.1). +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. + +

+ +

+r0.25 +Image output_routing + +
+ +

+Meanwhile MIDI and drum tracks allow you to route available MIDI ports +and channels to the track using a handy popup matrix. + +

+ +

+r0.25 +Image midi_routing_matrix + +
+ +

+ +

+
+Anti circular routing +

+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. + +

+Also, you cannot use a track's aux sends if the track has an input +route path from ANY Aux Track. (See aux tracks 2.3.1). +Aux send knobs and labels are disabled in that case. + +

+ +

+
+Soloing chain routes +

+Soloing chains (see solo chains 2.5.2) are really just +routes like any other. The available solo chaining paths are displayed +in the routing popup menus. + +

+ +

+
+Track soloing +

+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 +2.3.1). + +

+ +

+
+Phantom soloing +

+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 +2.4). A phantom soloed track is indicated by a black square +in the track pane solo column. (See track attributes +2.3.1). + +

+ +

+ + + +
Figure 2.10: +Soloing, with phantom soloing
+
+ +
Image soloing_window
+
+ +

+ +

+
+Soloing chains +

+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. + +

+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. + +

+Solo chains are accessed via routing menus. (See solo chain routes +2.4.2). + +

+ +

+
+Plugins +

+Plugins are small add-ons which can process a track's data. + +

+MIDI plugins operate on midi and drum tracks, and are found in +the Midi menu. + +

+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 2.6.1). + +

+ +

+
+The audio effects rack +

+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. + +

+MusE currently supports LADSPA plugins and DSSI synth and effects +plugins. + +

+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. + +

+All plugin controls can be automated. (See audio automation +2.7.1). + +

+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. + +

+Learn more about this in the appendix Understanding the Effects Rack: +3 + +

+ +

+ +
+Audio plugin Graphical User Interfaces (GUIs) +

Once a plugin is added, you need a way to +manipulate its controls, which affect its behaviour and operate +on the sound. + +

+MusE can show a generic GUI which contains all of the +plugin's controls arranged in a rather plain generic fashion. + +

+Some plugins may also have a native GUI which looks much better (it +was specifically designed for the plugin). + +

+Both GUI types are opened from the effects rack right-click popup menu. + +

+ +

+
+Automation +

+Automation is the ability to record (or construct) and playback +exact sequences of control movements. + +

+MIDI and audio automation are each currently uniquely different, +but share some similarities. + +

+ +

+
+Audio automation +

+Almost all graphical audio controls in MusE can be automated. + +

+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. + +

+Each control has a manual adjustment value. This value is shown +when there is no automation data at all, or automation has been +disabled. + +

+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 +2.6.1). + +

+There are a few ways to enter audio automation data: + +

+

+Audio automation modes +

+Each audio track strip has an automation mode button +at the bottom. There are four automation modes: +
+
OFF:
+
Disables all automation, uses manual value always. +
+
READ:
+
Automation data is applied to controls. If any +automation data exists, the manual value is overridden and has +no effect. +
+
TOUCH:
+
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. +
+
WRITE:
+
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. +
+
+Here is a screenshot of automation WRITE mode, and some automation +data, with the track pane automation popup menu showing (see track +automation 2.3.1): + +
+ + + +
Figure 2.11: +Audio automation graphs
+
+ +
Image main_window_with_automation
+
+ +

+ +

+Midi automation +

+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. + +

+Similar to audio controls, each midi control has a manual adjustment +value. This value is overridden when there is midi automation data. + +

+There are a few ways to enter MIDI automation data: + +

+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. + +

+The 'Ctrl' popup menu (bottom left) shows available midi controllers +and the green dot indicates there is some data. + +

+ +

+ + + +
Figure 2.12: +MIDI automation graphs
+
+ +
Image main_window_with_midi_automation
+
+ +

+ +

+Configuration +

+ +

+ +

+MIDI ports +

+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. + +

+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. + +

+ +

+MIDI port configuration +

+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). + +

+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. + +

+ +

+ + + +
Figure 2.13: +Midi configuration window
+
+ +
Image midi_config_window
+
+ +

+ +

+Columns in the MIDI configuration ports list: +

+
+
GUI:
+
For synthesizer devices, indicates if a gui is available +and if it is showing. Click to show. +
+
I:
+
If present, the port can accept MIDI input. Click to +enable or disable it. +
+
O:
+
If present, the port can send MIDI output. Click to enable +or disable it. +
+
Instrument:
+
Selects the instrument to be used when MIDI is +played through the port. +
+
Device name:
+
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. +
+
In and Out routes:
+
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. +
+
Default in channels:
+
Auto-connect these port channels to +new midi or drum tracks. +
+
Default out channel:
+
Auto-connect new midi or drum tracks +to this channel on the port. +
+
State:
+
Indicates the state of the port including any errors +opening it. +
+
+ +

+ +

+Global settings +

+ +

+Audio settings +

+ +

+Minimum control period +

+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 +$689=\frac{44100}{64})$ 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. + +
+Recommendation +
+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. + +

+ +

+ +
+Appendix +

+

+Understanding the effects rack +

+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. + +

+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. + +

+For mono tracks with plugins having more than one audio input or +output, MusE uses the first input or output and ignores the rest. + +

+For stereo tracks: + +

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
plugin inputsoutputscopiestrack in route channelstrack out route channels
00100
01202
0>=2102
10220
11222
1>=211 (L only)2
>=20120
>=21222
>=2>=2122
+ +

+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). + +

+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. + +

+Currently specialized plugins with many inputs and/or outputs are not +really useful in MusE. + +

+Nor are so-called 'realtime' control plugins which use audio inputs +and outputs for control signals. + +

+Loud noise alert! Beware of using such plugins in an audio effects +rack. + +

+Example: Consider a stereo Audio Input track with these effect rack + LADSPA plugins: + +

+ +

+ +

+The Comb Splitter has one audio input and two audio outputs. +The Stereo Echo has two audio inputs and two audio outputs. + +

+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. + +

+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. +

+ + + -- cgit v1.2.3