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[Traverso-commit] traverso/doc/manual/en cdburning.tex foreword01...
From: |
Nicola Doebelin |
Subject: |
[Traverso-commit] traverso/doc/manual/en cdburning.tex foreword01... |
Date: |
Thu, 24 May 2007 21:45:42 +0000 |
CVSROOT: /sources/traverso
Module name: traverso
Changes by: Nicola Doebelin <n_doebelin> 07/05/24 21:45:40
Added files:
doc/manual/en : cdburning.tex foreword01.tex help.tex
installation.tex intro.tex keyactions.tex
license.tex mixing.tex quickstart.tex
recording.tex setup.tex titlepage-author.pdf
titlepage-author.sla titlepage.pdf
titlepage.sla tools.tex traverso-manual01.pdf
traverso-manual01.tex trouble.tex
doc/manual/en/images: clipmenu.png cmeter1.png cmeter2.png
cmeter4.png driversettings.png
exportdlg.png fades2.pdf fades.pdf
fft1.png fft3.png gain-cursor.png
gcurve01.png kmix01.png logo-gross.png
marker-editor.png markers01.png
plugin-list.png sine01.pdf sshot02.png
sshot03.png sshot06.png
doc/manual/en/images/source: corr01.agr fades2.svg fades.svg
sine03.agr
Log message:
Manual added
CVSWeb URLs:
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Patches:
Index: cdburning.tex
===================================================================
RCS file: cdburning.tex
diff -N cdburning.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ cdburning.tex 24 May 2007 21:45:34 -0000 1.1
@@ -0,0 +1,82 @@
+\section{Requirements}
+This chapter describes how to arrange and write a Red Book compatible audio
CD. Traverso uses \texttt{cdrdao} to actually write the CD, so this program
must be installed on the system. \texttt{cdrdao} is available from the official
repositories of all major and up-to-date Linux distributions, it is thus
recommended to install it via the distribution's package manager. It is also
available for Microsoft Windows and Apple OS X (via fink and the MacPorts), but
it requires some more effort to get installed on these systems. You can easily
check if the tool is already installed by entering \texttt{cdrdao} on a
console. If you get an output like this, you are ready to proceed:
+
+\footnotesize
+\begin{verbatim}
address@hidden:~$ cdrdao
+
+Cdrdao version 1.2.2 - (C) Andreas Mueller <address@hidden>
+ SCSI interface library - (C) Joerg Schilling
+ Paranoia DAE library - (C) Monty
+
+Check http://cdrdao.sourceforge.net/drives.html#dt for current
+driver tables.
+
+
+Usage: cdrdao <command> [options] [toc-file]
+command:
+...
+\end{verbatim}
+\normalsize
+
+If the command was not found, the following sections explain how to install
\texttt{cdrdao} on various platforms.
+
+\subsection{Linux}
+Installing \texttt{cdrdao} on Linux is straight forward, since it is part of
all major distributions. Use your distribution's package manager (e.\,g.
Synaptic or Adept on (K)Ubuntu, Yast on SuSE), search for \texttt{cdrdao} and
install the binary package. Alternatively, you can install it from a terminal.
The commands will differ depending on the distribution. For (K,X)Ubuntu, enter
the following lines in a terminal:
+
+\begin{verbatim}
+sudo apt-get update
+sudo apt-get install cdrdao
+\end{verbatim}
+
+\subsection{Apple OS X}
+Note: The installation on OS X requires a working internet connection, and the
user must be allowed to get administrator privileges. You can install
\texttt{cdrdao} from the MacPorts, but it can happen that only a source package
is available for your version of OS X. First install MacPorts from
\cite{macports}. Then open a terminal and enter:
+
+\begin{verbatim}
+sudo /opt/local/bin/port install cdrdao -v
+\end{verbatim}
+This will take a while, because several dependencies will be installed, too.
But after the process has finished, you should be able to run \texttt{cdrdao}
by entering:
+
+\begin{verbatim}
+/opt/local/bin/cdrdao
+\end{verbatim}
+which should give the same output as shown above. If something went wrong,
please seek help from the MacPorts community.
+
+\subsection{Microsoft Windows}
+Traverso will install everything necessary to burn CDs automatically,
including cdrdao. A working internet connection is required, because the latest
cd-writing driver will be downloaded during the installation.
+
+\section{Tracks and Markers}
+There are basically two ways of defining tracks for a CD. Each song can be a
track, or the entire CD can be arranged in the timeline of a song and tracks
are defined by markers. Combinations of the two ways are also possible. Let's
have a closer look at these two concepts.
+
+\subsection{A Song is a CD-Track}
+As you may have noticed, Traverso allows to have several songs in a project.
Some people like this feature, as one can combine all songs of an album in one
project, and still focus on one song at a time. If you want to write a CD
containing all songs of your project, make sure you check the ``All Songs''
button in the export dialogue. Each song will be rendered to a track, from
position 00:00:00 up to the end of the last audio clip, and consequently each
song will become a track on the CD.
+
+\subsection{CD in a timeline}
+Sometimes it is important to fine-tune the transition from one track to the
next, e.\,g. by adding a little bit of silence in between, or by fading the
previous track into the next one. In that case it can be easier to arrange the
entire CD in one timeline and split it into tracks using markers. Let's look at
an example in order to show how this works. (Look at \FigT~\ref{fig_markers01}
if you get lost with the explanations.) Open or create a project with only two
audio clips. Suppose we want clip 1 to be track 1 on the CD, and clip 2 will be
track 2. Position them on the first and maybe second track, starting at
position 00:00:00, as you want to hear them on the CD. Leave some silence
between the end of clip 1 and the beginning of clip 2. To get Traverso to start
a new CD track there, position the mouse cursor on the gap between the two
clips, and press \sact{M}. This adds a small triangle to the timeline at the
position of the mouse cursor, and two more at position 00:00:00 and at the end
of clip 2. The latter one is labelled ``End'', and it marks the end of the CD.
You can shift it a bit further back if you don't want the CD to stop right
there (remember you can have reverb tails extending beyond the last audio
sample, which you don't want to cut off).
+
+\begin{figure}[t]
+ \centering\includegraphics[width=\textwidth]{images/markers01}
+ \caption{If a CD is arranged in one song, markers can be used to define CD
tracks. Always keep the ones at position 00:00:00 and at the end.}
+ \label{fig_markers01}
+\end{figure}
+
+These triangles are CD track markers, and they can be moved, added, and
deleted freely (press \sact{Q} on the timeline to list all available
functions.) However, it is also possible to create setups which don't make
sense. E.\,g. only having one track marker in the timeline. In such cases,
Traverso tries to guess the most sensible solution, and adds markers on the fly
at positions it considers appropriate (which is usually at position 00:00:00
and after the last sample of the song containing audio data). Traverso also
supports CD-text, which can be entered in the marker dialogue ``Views
$\rightarrow$ Marker Dialog'' (\FigB~\ref{fig_marker-editor}). It is also
possible to export the table of contents of the CD as an HTML file from this
dialog. Album-wide CD-text can be entered in the project settings, opened from
``Project $\rightarrow$ Project Manager'', in the tab ``CD Text''.
+
+\begin{figure}[ht]
+ \centering\includegraphics[width=0.45\textwidth]{images/marker-editor}
+ \caption{The marker dialogue opened from ``Views $\rightarrow$ Marker
Dialog'' allows to add CD-text, modify the markers, and export the table of
contents as an HTML file.}
+ \label{fig_marker-editor}
+\end{figure}
+
+Once the CD is laid out to your satisfaction, press \dact{RETURN} on the song
to open the export dialogue (\FigB~\ref{fig_exportdlg}). You can either choose
to export the project as audio files to the harddisk, or burn a CD. If you want
to export to harddisk, you can choose between several audio formats. The most
common one is WAVE, and depending on your plans with the exported files, you
can use different sample formats (bit depths). 16 bit is ideal if you want to
burn the files on CD later on. If you want to go on processing the files, use
32 bit float format instead. If you want to archive the files, use the FLAC
codec, which is a lossless compression format.
+
+If you want to burn a CD, you must also decide if you want to burn the current
song (using markers to define CD tracks), or the entire project (each song
becomes a track). If you check ``Export to disk only'', no CD will be written,
but only a *.toc file and *.wav files for \texttt{cdrdao}.
+
+Note for OS X users: CD writing support is still experimental. You can choose
between several burning devices: IODVDServices, IODVDServices/2,
IOCompactDiscServices, IOCompactDiscServices/2. These are hard-coded, so you
probably don't have all of them installed. IOCompactDiscServices should only be
used for old drives without DVD reading support. If you have multiple DVD
drives, use IODVDServices or IODVDServices/2 to access the first and the second
drive. In most cases IODVDServices will be the only working solution.
+
+\begin{figure}[t]
+ \centering\includegraphics[width=\textwidth]{images/exportdlg}
+ \caption{\dact{RETURN} opens a dialogue to export the project (either the
current song or the entire project) to audio files, or burn a CD.}
+ \label{fig_exportdlg}
+\end{figure}
+
Index: foreword01.tex
===================================================================
RCS file: foreword01.tex
diff -N foreword01.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ foreword01.tex 24 May 2007 21:45:34 -0000 1.1
@@ -0,0 +1,3 @@
+Whenever we meet someone we didn't know before, it is the first few seconds
which decide whether or not we will like that person. And even more so if the
person is somewhat, say, different. That is, if it somehow doesn't come up with
our expectations of a normal person, be it for strange behaviour, the pink hair
and torn jeans, a funny accent, or his/her stunning beauty. The first
impression is always decisive.
+
+Traverso, although not being a person, \emph{is} rather different from other
computer programs, and if a user expects it to work just like any other
program, it will most certainly cause a lot of frustration. In order to avoid
disappointment and to make sure the first impression is positive, we encourage
you to read at least the first chapter of this book, which explains the basic
concept of the user interface. Difference can sometimes be a good thing, but
you will have to learn a couple of new things right at the beginning, otherwise
you will not even be able to play with the software and explore it on your own.
But don't be put off, it only takes a couple of minutes to learn the basics,
and after a few hours or days you will have internalized it and discover the
power and efficiency by yourself. So please allow us to introduce you to a
programme which is a bit different, but in a charming way\dots
Index: help.tex
===================================================================
RCS file: help.tex
diff -N help.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ help.tex 24 May 2007 21:45:34 -0000 1.1
@@ -0,0 +1,19 @@
+There are several internet resources which can provide help if you struggle
with Traverso. Before posting a question, however, it is recommended to
carefully classify your problem. The source packages released by the Traverso
team are usually well tested and compile without too much tinkering. If you
still fail to compile it on your system, the Traverso team will most probably
refer you to the user forum of your distribution. You can make life easier for
all of us by posting your question there in the first place. Thus we ask you to
consider the following points before asking for help.
+
+\section{Compilation fails}
+Please make sure that you have installed all required packages listed in
chapter \ref{sect_installation} of this document. If you still get the error,
search the archive of the Traverso developer mailing list \cite{ml-archive} for
the same problem. If you don't find a solution, send an e-mail with a
description and the compiler output attached to the developer mailing list
(address@hidden) or file a support request on the Savannah project page
\cite{support}. Chances are high that the problem is distribution-specific and
that you will be asked to refer to the user forum of your distribution.
+
+If you can track down the error to missing dependencies, please consider to
seek advice in the distribution forum in the first place.
+
+\section{Binary package fails to install}
+Search the archive of the Traverso developer mailing list \cite{ml-archive}
for the solution. If you don't find the answer, send an e-mail with an accurate
description of the problem to the Traverso developer mailing list
(address@hidden).
+
+\section{Bugs}
+Search the archive of the Traverso developer mailing list \cite{ml-archive}
and the bug tracker on Savannah \cite{bugtracker} for discussions of the
problem. If you don't find any references, report the bug with instructions for
reproduction, relevant information on your hardware, and the version of the Qt
library used, on the bug tracker \cite{bugtracker}.
+
+%\section{Feature request}
+%Please (!) ask yourself if it is realistic to implement the requested feature
at the current stage of development. If yes, send an e-mail with a detailed
description to the developer mailing list \cite{ml-archive}.
+
+\section{Getting involved}
+The Traverso team highly appreciates any kind of contribution. If you are C++
coder, artist, musician, translator, or bug hunter who wants to help making
Traverso the best multitrack application ever, please offer your help on the
developer mailing list (address@hidden).
+
Index: installation.tex
===================================================================
RCS file: installation.tex
diff -N installation.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ installation.tex 24 May 2007 21:45:35 -0000 1.1
@@ -0,0 +1,59 @@
+The most convenient way to install Traverso is to use precompiled packages.
For Traverso \Version\ binary packages are available for several popular Linux
distributions. However, in the fast-living open source world, things can change
rapidly. It is thus recommended to refer to the Traverso homepage in order to
find up-to-date information on binary packages. Alternatively, compilation from
source is the second best option, and explained here in detail. It's actually
quite simple as you will see! The last option if the former two don't work, is
to download the ``ready to run binary'', which is usually provided for the i386
platform on the Traverso website \cite{trav-hp}. Traverso successfully builds
and runs on i386, ia64, and ppc platforms.
+
+\section{Binaries}
+The precompiled binaries are available from the following locations:
+
+\begin{description}
+ \item [(K)Ubuntu:] add the reference given in \cite{trav-repo} to your
/etc/apt/sources.list, then run ``sudo apt-get update \&\& sudo apt-get install
traverso''.
+ \item [Gentoo:] Traverso is part of the official distribution. New
versions of Traverso appear in the Pro-Audio overlay first. You'll find more
info at \cite{pro-audio-wiki}.
+ \item [SuSE:] Unofficial packages are available from \cite{jacklab-ref}
+\end{description}
+
+\section{Compiling from Source}
+This section describes how to compile Traverso from source on a (K,X)Ubuntu
\Ubuntu\ system. For other distributions, the package names may be somewhat
different, but you should be able to identify the correct package with your
distributions package manager. Note that Traverso depends on the Qt library
version 4.2.3 or newer (4.3 recommended).
+
+First you will need to make your system fit to compile Traverso. And while
we're at it, install some more useful things. Use your favorite package manager
(like synaptic or adept) to install the following packages:
+
+\begin{itemize}
+ \item libqt4-core, libqt4-gui, libqt4-dev
+ \item libsndfile1, libsndfile1-dev
+ \item libsamplerate0, libsamplerate0-dev
+ \item libjack0.100.0-0, libjack0.100.0-dev
+ \item libasound2, libasound2-dev
+ \item fftw3, fftw3-dev
+ \item jackd, qjackctl, gcc, g++, make
+ \item build-essential
+ \item (optional: libslv2, libslv2-dev from \cite{trav-repo})
+\end{itemize}
+On (K,X)Ubuntu the following will get you going:
+\begin{verbatim}
+$ sudo apt-get install build-essential libqt4-core \
+ libqt4-gui libqt4-dev libsndfile1 libsndfile1-dev \
+ libsamplerate0 libsamplerate0-dev libjack0.100.0-0 \
+ libjack0.100.0-dev libasound2 libasound2-dev \
+ fftw3 fftw3-dev jackd qjackctl gcc g++ make
+\end{verbatim}
+If some packages are not available, you should enable the universe repository.
Instructions on how to add repositories are available for Kubuntu and Ubuntu on
the distribution website and related forums / wikis.
+
+In case you have version 3 of the Qt library installed (which is the default
in (K,X)Ubuntu), you must make sure that the tools of version 4 are used. Open
a terminal, enter the following commands and always select the Qt4 version when
asked:
+
+\begin{verbatim}
+$ sudo update-alternatives --config qmake
+$ sudo update-alternatives --config moc
+$ sudo update-alternatives --config uic
+\end{verbatim}
+
+Now your system is ready to compile Traverso from source! Download the latest
stable release of Traverso from the Traverso homepage. Extract it in some
directory like /home/you/traversosource/ and compile it with the following
commands:
+
+\begin{verbatim}
+$ tar -zxvf traverso-x.x.x.tar.gz
+$ cd traverso-x.x.x
+$ ./cleancompile
+\end{verbatim}
+(The cleancompile script ensures that all traces of previous compilations are
removed, and calls qmake and make to start the new compilation.) This will take
some time, and if you followed the instructions above carefully, it should run
through without errors. When the make process has finished and you get back the
command line prompt, check the last 10 lines for the word ``Error''. If you
don't find it, everything is ok. If you find it, check again if you followed
the instructions above correctly. Now you can install the software by typing
the following lines:
+
+\begin{verbatim}
+$ sudo make install
+$ sudo echo /usr/local/lib >> /etc/ld.so.conf
+$ sudo ldconfig
+\end{verbatim}
Index: intro.tex
===================================================================
RCS file: intro.tex
diff -N intro.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ intro.tex 24 May 2007 21:45:35 -0000 1.1
@@ -0,0 +1,36 @@
+Traverso is a multitrack audio recording and editing program for GNU/Linux
with special emphasis on an intuitive, clean, and above all efficient user
interface. The program currently supports recording of any number of audio
tracks (only limited by hardware capabilities), basic mixing features, and
rendering of the project into various standard audio file formats. The audio
engine uses 32 bit floating point precision for all calculations to preserve
the highest possible audio quality even after extensive processing.
+
+The user interface uses a contextual interaction concept; instead of relying
on the mouse to operate on graphical objects, combinations of mouse and
keyboard are used to control the program. This results in a higher flexibility
and much faster control of the program when compared to the traditional
mouse-based approach. It even goes far beyond the possibilities offered by
conventional key shortcuts. The mouse only has to be placed on an object and
all functions become available instantly by pressing a key on the keyboard.
Since the object under the mouse cursor is automatically selected, this concept
is called ``soft selection''.
+
+\section{License}
+Traverso is free software; you can redistribute it and/or modify it under the
terms of the GNU General Public License as published by the Free Software
Foundation; either version 2 of the License, or (at your option) any later
version.
+
+This program is distributed in the hope that it will be useful, but WITHOUT
ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS
FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details.
+
+You should have received a copy of the GNU General Public License along with
this program; if not, write to the Free Software Foundation, Inc., 51 Franklin
Street, Fifth Floor, Boston, MA 02110-1301, USA.
+
+\section{Motivation}
+One of the motivations to introduce the concept of soft selection was our
belief in the superiority over the traditional point-and-click concept in
regard to efficiency, speed, and ergonomics. The full potential of soft
selections develops after an initial learning phase, because something that
breaks with existing standards requires time and effort to adopt, and it takes
even more time to overcome long-trained habits. But let's have a look at the
different working styles with a trivial example. Suppose we want to do
something as simple as switching ``Solo'' or ``Mute'' of a track on and off.
+
+\minisec{The ``analogue way''}
+In an analogue recording studio with a mixing desk, you have lots of channels,
and each channel has lots of buttons, faders, knobs etc. To toggle ``Solo'' or
``Mute'', you identify the channel strip on the mixing desk, and press the
corresponding button. If you want to do the same with several channels, you can
quickly press many buttons in a row. The fact that there is a dedicated button
for each and every function (which is not always trivial to find, depending on
the size of the desk), makes it easy to switch the button, but results in
mixing desks being huge and complicated electronic devices.
+
+\minisec{The ``Digital Way''}
+On a conventional digital audio workstation (DAW) you identify your channel
and press the corresponding solo or mute button with the mouse. Depending on
the user's skills and the size of the button, this can already be a minor
challenge. Switching several channels in a row, however, is very slow and
inefficient, because hitting the button requires careful positioning of the
mouse cursor each time.
+
+\minisec{The ``Traverso Way'': Soft Selection}
+In Traverso you move the mouse over the track you want to process, and press a
key on the keyboard, e.g. ``U'' for mute, or ``O'' for solo. Most users hit the
key without looking at the keyboard. The track panel is a large area, which is
entirely sensitive for the key actions, so even if several tracks should be
switched, the mouse cursor can be placed anywhere on the track, requiring much
less aiming.
+
+So what is the difference between the digital and the Traverso way? From our
experience, moving the mouse on the desk in order to move the cursor on the
screen is like using a remote control or a ``finger extension''. It's like
being allowed to press buttons on a mixing desk only by using a 30 cm long
ruler. One would have to target carefully, and would miss the tiny button most
of the time. All in all it would be very tiring and time consuming. Pressing
buttons with our fingers, one for mute, one for solo etc., is more ergonomic
and intuitive, and we tried to find an interface concept for Traverso which
gives a feeling as direct as analogue buttons, without requiring additional
hardware control surfaces. So once we have identified the channel we want to
process (by hovering the mouse cursor over it), we want a real world button for
as many functions as possible. And since our left hand could as well be ready
on the keyboard instead of picking our nose, we have all the 104 buttons of our
keyboard at our disposal which can give direct access to a large number of
actions. This concept is closely related to the handling of action games
(e.\,g. ``first-person shooters''), which are highly optimized for efficient
and intuitive access to various actions (moving, running, shooting, ducking,
\dots) and a large number of tools. To summarize, the advantages of soft
selections are:
+
+\begin{itemize}
+ \item the distances on the keyboard are shorter than on the screen
+ \item the hit-to-miss ratio for key strokes is much better than for buttons
on the screen
+ \item using both hands allows to work faster and relieves the mouse hand,
resulting in a less fatiguing working style
+ \item the ``remote control'' feeling is reduced
+ \item more actions can be reached directly, requiring less and shallower menu
structures
+ \item the keys can be found blindly, leading to less distraction from the
work flow
+\end{itemize}
+
+The downside is a steeper learning curve, particularly at the very beginning,
since the keys are not labeled with the function name (``Solo'', ``Mute'',
``Rec'' etc.). But you will soon internalise the commands just as you did with
``Ctrl+C'' for copy and ``Ctrl+V'' for paste. As for the higher efficiency:
Could you imagine driving your car, and when approaching a red light first
having to open the menu ``brakes'' on your board computer, choose the sub-menu
``change hydraulic pressure'', and adjust the pressure for each wheel manually
with the mouse?
+
Index: keyactions.tex
===================================================================
RCS file: keyactions.tex
diff -N keyactions.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ keyactions.tex 24 May 2007 21:45:35 -0000 1.1
@@ -0,0 +1,77 @@
+If the mouse points to a graphical object, some key command has to be
performed, for example to mute an audio clip, or modify the gain of a track. A
key command is a single key press, a combination of key presses, or a key hold
action in combination with a mouse movement. Don't be afraid, this is not as
difficult as it sounds! The following description shows how the different
categories of key actions are notated and how they are performed.
+
+\minisec{Single Key Action: Press and Release}
+This action is noted as follows:
+\begin{quotation}
+ \sact{K}
+\end{quotation}
+This reads as: ``Press and Release a Key'', just like if you were typing in a
letter.
+``K'' is the key you should use. (\emph{Note:} Even though capital letters are
used to write down these actions, you should just press the ``K'' key and never
use shift or caps lock, unless it is explicitly mentioned.) For example:
+\begin{quotation}
+ \sact{F}
+\end{quotation}
+means press and release the ``F'' key.
+
+\minisec{Single Key Action: Press and Hold}
+This action is noted as follows:
+\begin{quotation}
+ \hact{K}
+\end{quotation}
+This reads as: ``Press and Hold the Key''. Pretty self explanotary, in a text
editor you would get lots of kkkkkkkkkkk\dots.
+Again, ``K'' is the letter associated with this action. For example:
+\begin{quotation}
+ \hact{D}
+\end{quotation}
+means press and hold the ``D'' key.
+
+Hold keys in itself don't do anything. However if a ``hold key'' is active,
and you move the mouse, an ``analogue'' action can be performed like moving an
audio clip.
+
+\minisec{Single Key Action: Press and Release Twice}
+This action is noted as follows:
+\begin{quotation}
+ \dact{K}
+\end{quotation}
+It reads as: ``Press and Release the key twice''. Like typing in one letter
twice, rather fast, like a double click. For example:
+\begin{quotation}
+ \dact{G}
+\end{quotation}
+means press and release the ``G'' key twice.
+
+\minisec{Double Key Action: Press and Release}
+This action is noted as follows:
+\begin{quotation}
+ \sact{K K}
+\end{quotation}
+This reads as: ``Press and Release 2 keys at once''. One of the more difficult
actions. For example:
+\begin{quotation}
+ \sact{F G}
+\end{quotation}
+means press and release both the ``F'' and ``G'' key at the same time.
+
+\minisec{Double Key Action: Press and Hold}
+This action is noted as follows:
+\begin{quotation}
+ \hact{K K}
+\end{quotation}
+It reads as: ``Press and hold 2 keys at once''. For example:
+\begin{quotation}
+ \hact{F G}
+\end{quotation}
+means press and hold at the same time both the ``F'' and ``G'' key.
+
+The same idea applies as for the ``Single Key Action: Press and Hold'',
however you have to press and hold 2 keys. This is a bit more difficult to do
than with a Single Key Action, and is meant for more advanced usages/users.
+
+\minisec{Double Key Action: Press and Release Twice}
+ This action is noted as follows:
+\begin{quotation}
+ \dact{K K}
+\end{quotation}
+It reads as: ``Press and Release the 2 keys twice''. A difficult action to
learn. Two keys have to be pressed and released at the same time, twice rather
fast after each other! For example:
+\begin{quotation}
+ \dact{F G}
+\end{quotation}
+means press and release both the ``F'' and ``G'' key at the same time twice.
+
+This key command isn't used much actually, due the fact that it's rather hard
to perform. But this makes it an ideal candidate for destructive actions!
+
+
Index: license.tex
===================================================================
RCS file: license.tex
diff -N license.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ license.tex 24 May 2007 21:45:35 -0000 1.1
@@ -0,0 +1,20 @@
+\clearemptydoublepage
+\noindent\thispagestyle{empty}
+This work is licensed under the Creative Commons Attribution-Noncommercial 2.5
Netherlands License. To view a copy of this license, visit
http://creativecommons.org/ licenses/by-nc/2.5/nl/ or send a letter to Creative
Commons, 171 Second Street, Suite 300, San Francisco, California, 94105,
USA.\\\\
+In short, you are free:
+ \begin{itemize}
+ \item \textbf{to Share} -- to copy, distribute and transmit the work
+ \item \textbf{to Remix} -- to adapt the work
+ \end{itemize}
+ Under the following conditions:
+ \begin{itemize}
+ \item \textbf{Attribution.} You must attribute the work in the manner
specified by the author or licensor (but not in any way that suggests that they
endorse you or your use of the work).
+ \item \textbf{Noncommercial.} You may not use this work for commercial
purposes.
+ \item For any reuse or distribution, you must make clear to others the
licence terms of this work.
+ \item Any of the above conditions can be waived if you get permission from
the copyright holder.
+ \item Nothing in this license impairs or restricts the author's moral
rights.
+ \end{itemize}
+\normalsize
+
+
+\clearemptydoublepage
Index: mixing.tex
===================================================================
RCS file: mixing.tex
diff -N mixing.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ mixing.tex 24 May 2007 21:45:35 -0000 1.1
@@ -0,0 +1,57 @@
+Mixing features in Traverso \Version\ currently include gain, panorama,
different fade shapes for fade-in and -out, trimming, splitting, moving of
audio clips, and gain curves. An infrastructure for effect plugins using the
LV2 standard is implemented, but development of Traverso \Version\ is a bit
ahead of LV2, hence no plugins are available at the moment of writing. Starting
from version 0.40.0, Traverso has basic support for using Sox to process audio
clips.
+
+\section{Moving, trimming, splitting}
+Clips can be moved freely by holding \hact{D} and moving the mouse. If
snapping is active (\sact{S~N}), both ends of the dragged clip will snap to the
beginning of the song, edges of other clips, and to the work cursor.
+
+Move the mouse cursor on a clip, hold \hact{E}, and move the mouse
horizontally to drag the edge of the clip which is nearest to the mouse
position. If snapping is active, the edge will snap to the positions described
above.
+
+Audio clips can be split by pointing the mouse cursor to the desired position
and pressing \sact{X}. Of course the edges of the two clip fragments can be
fine-tuned by holding \hact{E} as describes above.
+
+\section{Fades}
+Both ends of a clip can be faded smoothly by holding \hact{F} on the left or
right half of the clip and moving the mouse horizontally. On the left half the
key action refers to the fade-in, on the right half it refers to the fade-out.
Several fade shapes are available, which can be toggled by \sact{M}
(\FigB~\ref{fig_fades01}).
+
+\begin{figure}[t]
+ \centering\includegraphics[width=0.8\textwidth]{images/fades}
+ \caption{Different fade shapes are available in Traverso. Fade curves are
defined as splines with two control points (circles) which can be modified by
the values ``bending'' and ``strength''.}
+ \label{fig_fades01}
+\end{figure}
+
+All shapes are based on a cubic spline curve with four knots. Two knots define
the bending of the non-linear shapes. The positions of these control knots can
be modified by two values ``bending'' and ``strength''. ``Bending'' defines the
direction of the tangent in the end point, whereas ``strength'' changes the
weight of the tangent (\FigB~\ref{fig_fades02}). It is not possible to move the
control knots freely and independently, instead Traverso knows several modes
which are relevant for fade shapes (\FigB~\ref{fig_fades01}):
+
+\begin{figure}[t]
+ \centering\includegraphics[width=0.8\textwidth]{images/fades2}
+ \caption{Bending and strength values can be used to alter the shape of the
fade curves. (Demonstrated with the ``Long'' mode.)}
+ \label{fig_fades02}
+\end{figure}
+
+\subsection{Linear}
+Linear fades are a straight line between the start and end point. The control
knots can't be changed. Linear fades tend to sound rather abrupt at the
low-level end of the fade, and are thus not the preferred mode for long
fade-outs, e.\,g. at the end of a song.
+
+\subsection{S-shaped}
+The S-shaped mode starts with a horizontal tangent, is steep a the center, and
passes into a horizontal tangent again. The beginning and end are very smooth,
but the center part can sometimes change too quickly in short S-fades. The
``strength'' parameter can be used to soften the center part and make the
volume change less obvious. The ``bending'' factor should usually remain
between linear and horizontal tangents, however, vertical tangents can be used
for effects.
+
+\subsection{Bended}
+The bended mode acts similar to the S-shaped mode, but the control knots point
to the same side. This mode can be used to achieve a very fast volume drop at
the beginning of the fade-out, and very soft towards the end. Both control
parameters are useful to find the best balance between a beginning that is not
too fast, and an ending that is still slow enough for a soft fade-out effect.
+
+\subsection{Long}
+The long mode only allows to change the control knot at the low-level end of
the fade. This mode is often used for very smooth fade-outs, e.\,g. at the end
of a song. The high-level end changes fastly, but the low-level tail is very
soft. The long mode often sounds more musical than a similar bended mode.
+
+\section{Gain curve}
+Gain curves are a powerful feature to change the gain of an audio clip in the
time line. The curves are child elements of audio clips, therefore their
\emph{relative} position to the audio clip will always stays the same. To
change to effects mode, select the entry ``Mode: Effects'' from the dropdown
menu in the menu bar (\FigB~\ref{fig_gcurve01}). To change back to edit mode
``Mode: Edit''. A default curve node is added automatically at the beginning of
the clip at 0~dB. Additional nodes can be created by \dact{C} at the position
of the mouse cursor. Nodes can also be dragged (\hact{D}) and removed
(\dact{R}). These actions always apply to the node closest to the mouse cursor,
which is indicated by a different colour.
+
+\begin{figure}[t]
+ \centering\includegraphics[width=\textwidth]{images/gcurve01}
+ \caption{The ``effects mode'' of Traverso can be activated from the dropdown
menu in the menu bar. Gain curves are only visible in that mode. Nodes can be
added, removed, and dragged freely.}
+ \label{fig_gcurve01}
+\end{figure}
+
+\section{Plugins}
+Traverso supports the LV2 plugin interface, which is the successor of the
LADSPA standard. Plugins can be added to tracks by pressing \sact{F5}, which
opens a list of all LV2 plugins installed on the system
(\FigB~\ref{fig_pluglist}). Active plugins will be shown as semi-transparent
fields in the track view. These fields have their own context menu; just try it
out by holding the mouse on them and pressing \sact{Q}. Pressing \sact{E} will
open a generic dialog, which allows to adjust the plugin parameters. Plugins
can also be bypassed (\sact{B}) and removed (\dact{R}). Version 0.40.x inserts
all plugins post-fader. More flexible solutions will follow in upcoming
versions.
+
+\begin{figure}[t]
+ \centering\includegraphics[width=0.6\textwidth]{images/plugin-list}
+ \caption{Plugins can be added to a track by pressing \sact{F5}.}
+ \label{fig_pluglist}
+\end{figure}
+
+
Index: quickstart.tex
===================================================================
RCS file: quickstart.tex
diff -N quickstart.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ quickstart.tex 24 May 2007 21:45:35 -0000 1.1
@@ -0,0 +1,33 @@
+The default project automatically created by Traverso contains six empty
tracks and is called \emph{Untitled}. So how should we get started?
+Let's just start Traverso and import an file to work on.
+
+You will need a wave audio file, or better a couple of them. You can import
them from any location on your hard disk, or place them in your Traverso
project directory, and further in "Untitled/audiosources" to keep you
directories tidy. Back in Traverso, press the I key on an empty track, navigate
to the wave files in the file dialog, and select one of them. It will be placed
in the track, and after a couple of seconds the wave form will be drawn (it
takes a few seconds to calculate the wave form the first time).
+
+We start listening to our imported audio file, by pressing the spacebar, the
VUMeters will show the level of the output signal. If the VUMeters are not
visible, show them from the menu ``Views $\rightarrow$ VUMeters''. Muting the
audio clip is done by pressing the U key while the mouse points to the audio
clip. To unmute the clip, press U again. To make life easier, throught this
manual we use this notation for pressing the U key: \sact{U}. So, whenever you
see a letter enclosed in these brackets, it means press that key once. If you
point the cursor to the track background and press \sact{U}, the entire track
is muted---and finally the ``mute'' button lights up!
+
+OK, what about splitting our clip into half? Point the mouse to where you want
your clip split, and press X, the shorthand notation then will be \sact{X}. All
of a sudden we have two clips! Use the undo button in the menu bar to undo the
latest action. The clip will return to it's previous state.
+
+Changing the gain of a track or audio clip is done as follows: Point your
mouse to the audio clip, and press and hold the G key! The cursor will change
to a gain symbol (\FigB\ \ref{fig_gaincursor}). Now move the mouse up/down, and
see the gain value change. To make live easier again, the shorthand notation
for keys that are pressed \emph{and} held is \hact{G}. When releasing the G
key, the cursor returns to it's normal state, and the new gain value will be
used. If you point the cursor to the background of the track, e.\,g. between
two clips or to the track panel on the left (where the ``Solo'', ``Mute'', and
``Rec'' buttons are), holding \hact{G} and moving the mouse will change the
gain of the entire track. Instead of moving the mouse, try scrolling with the
mouse wheel while holding \hact{G} to change the gain in very small steps.
These actions, as you can see in the History view, are also un/redoable. You
can also select an entry in the history view to jump directly to a certain
state in the history.
+
+\begin{figure}
+ \centering\includegraphics[width=0.4\textwidth]{images/gain-cursor.png}
+ \caption{The cursor changes to a gain symbol during the \hact{G} action.}
+ \label{fig_gaincursor}
+\end{figure}
+
+Up to now we used some simple and easily memorable actions, but there are of
course a lot more. But how to know which functions are available for a track or
audio clip? Fortunately, there are menus available. You can either use the righ
mouse button to popup the menu for the object beneath the mouse cursor, or use
\sact{Q} (by now you know that this means pressing the Q key). The menu shows
the available functions, and how to perform them on the keyboard (\FigB\
\ref{fig_clipmenu})!
+
+\begin{figure}
+ \centering\includegraphics[width=\textwidth]{images/clipmenu.png}
+ \caption{Pressing \sact{Q} or the right mouse button on an audio clip shows a
menu with all available actions.}
+ \label{fig_clipmenu}
+\end{figure}
+
+Moving the audio clip can be done by pressing the left mouse button, and
keeping it pressed, or by doing the same with the D key. According to our
notation scheme that would be \hact{D} or \hact{Left MouseButton}.
Alternatively, you can just drag the audio clip with the mousecursor. You can
move the mouse freely to position the audio clip to your own liking, the view
will automatically scroll if the mouse comes close to the boundaries of the
view. Also check out the \hact{Z} and \hact{S} actions to zoom and move the
horizontal slider.
+
+By now we learned two kinds of actions, the single key actions \sact{K}, and
the hold actions \hact{K}. We also learned that key actions always work on the
object beneath the mouse cursor. But before you start exploring the
possibilities of Traverso on your own, let's look at some more (randomly
selected) functions.
+
+If you want to reset the gain of an audio clip or track to 0 dB, point the
mouse cursor to a clip and press the G key twice. This works just like
double-clicking with the mouse. In our notation scheme, a double key stroke is
notated as \dact{G}. You will see that this action first resets the gain to 0
dB, and if called again, toggles the gain between $-6$ and 0 dB. This also
works on the track gain.
+
+As a last example let's delete an audio clip. First select the clip by hitting
\sact{S} on it. Its background will become dark. Then hit X and C twice at the
same time. This action is difficult to perform, maybe you need a couple of
attempts to get it right. But this makes the action ideal for ``dangerous''
function which should by no means happen accidentally. According to our
notation scheme this function writes as \dact{X C}. An overview of all
available action types is given in chapter \ref{sect_keyactions}. Chapters
\ref{sect_recording} and \ref{sect_mixing} provide more detailed information on
recording and mixing.
+
Index: recording.tex
===================================================================
RCS file: recording.tex
diff -N recording.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ recording.tex 24 May 2007 21:45:36 -0000 1.1
@@ -0,0 +1,23 @@
+\section{Creating a new project}
+To make some test recordings we first create a new project. Start Traverso and
select ``New\dots''. Enter a name, set the number of songs to 1, the number of
tracks to 2, and leave the rest empty. Then press ``OK'' to create the project
and show it's first song. Note: All recorded audio data will be stored in
\texttt{project\_dir/project\_name/audiosources}, so if you followed our advice
and selected a project directory on a pratition with lots of free space, you
shouldn't run out of disk space now.
+
+\section{Setting up the driver}
+To set up the driver backend, open the preferences dialog by clicking
``Settings $\rightarrow$ Preferences\dots'' (\FigB\ \ref{fig_driversettings}).
Which driver is appropriate for your system is described in chapter
\ref{sect_setup}. In the driver configuration one can chose the sampling rate,
and Traverso always uses the sampling rate of the driver backend for its
recordings. Traverso's audio engine works entirely in 32 bit floating point
precision, and it uses standard wave files with 32 bit float precision to store
recorded audio data.
+
+\begin{figure}
+ \centering\includegraphics[width=0.75\textwidth]{images/driversettings.png}
+ \caption{In ``Settings $\rightarrow$ Preferences\dots'', all driver related
parameters can be set.}
+ \label{fig_driversettings}
+\end{figure}
+
+\section{Recording}
+Make sure a sound source is connected to the line-in bus of your sound card,
and also make sure it really is playing back. In Traverso hit \sact{B} on the
first track and select ``Capture 1'' as input bus, then hit \sact{A} to arm the
first track. As soon as the track is armed, you should see the VUMeter
indicating an input signal on Capture1. If not, the problem is most probably to
be searched outside of Traverso. If you are sure your cable connections are
correct, open KMix or a similar mixer applet to configure your sound card. As
shown in \FigT\ \ref{fig_kmix01}, the Line and Capture channels had to be armed
and un-muted on our test system before the line-in signal got through to
Traverso.
+
+\begin{figure}
+ \centering\includegraphics[width=0.8\textwidth]{images/kmix01.png}
+ \caption{KMix can be used to configure the sound card. Make sure the correct
input channels (Line and Capture) are un-muted and set for recording (green and
red buttons).}
+ \label{fig_kmix01}
+\end{figure}
+
+When you are ready to record, press the \texttt{Record} button in the title
bar or hit CTRL+\sact{SPACE} to start the recording, and hit \sact{SPACE} to
stop recording. That's it. In order to rehearse the recording, place the work
cursor before the newly recorded clips, and press \sact{SPACE} to start
playback. Once you have finished recording a track, don't forget to unarm it by
pressing \sact{A}, or unarm all armed tracks at once by hitting \dact{A}.
+
Index: setup.tex
===================================================================
RCS file: setup.tex
diff -N setup.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ setup.tex 24 May 2007 21:45:36 -0000 1.1
@@ -0,0 +1,38 @@
+This chapter assumes that you have Traverso \Version\ or later installed on
your system. If not yet so, please refer to chapter \ref{sect_installation} for
instructions on how to install the programme.
+
+Start Traverso from the application menu, or by hitting Alt+F2 and entering
\texttt{traverso} in the command dialog. The first thing you will see is a file
dialog asking you for the project directory. If you don't have one yet, create
a new one. This directory will contain all projects, including the audio files.
So be aware that if you want to do some serious audio work, you will need
\emph{lots} of hard disk space. Change into the directory and press OK. After
confirming your selection, the Traverso main window will be shown. It contains
different regions which are sensitive for soft selections. The nomenclature
used in this manual is shown in \FigT\ \ref{fig_gui01}.
+
+\begin{figure}
+ \centering\includegraphics[width=\textwidth]{images/sshot06.png}
+ \caption{Interface elements of Traverso: 1 Track panel: If the mouse cursor
is hovering over this area, all key actions apply to the track beneath it; 2
Audio clip: Key actions apply to the audio clip; 3 Time line: Key actions apply
to markers in the time line; 4 Dock window / Dock widget; 5 Fade out; 6 Work
cursor; 7 Play head; 8 Song area.}
+ \label{fig_gui01}
+\end{figure}
+
+Traverso uses dock windows for its tool dialogs, which allows to re-arrange
the layout to your own liking. Just grab each one by the title bar and drag it
to a new position. You can even stack the dock widgets on top of each other or
detach from the main window and move freely. The latter is particularly handy
with dual-screen setups, for the main window can occupy one screen, and the
dock windows can be moved to the second screen (\FigB\ \ref{fig_mainwin02}).
+
+\begin{figure}
+ \centering\includegraphics[width=0.9\textwidth]{images/sshot03.png}
+ \caption{The dock windows can also be detached from the main window and moved
to the second screen in a multi-screen setup.}
+ \label{fig_mainwin02}
+\end{figure}
+
+\section{The Driver Backend}
+Four driver backends are supported to date: The Null driver, ALSA, the jack
soundserver, and Port Audio (on Windows and Mac OS X). Let's have a look at all
of them, what the advantages and disadvantages are, and how to set them up
correctly. The currently loaded driver is displayed in the menu bar.
+
+\subsection{Null Driver}
+The Null driver is a fallback solution which is set if no other driver is
available, but you won't hear any output as long as the Null Driver is loaded.
Hence there's hardly a situation where you want to load it manually. To select
a valid driver, click on the \emph{Null Driver} label in the menu bar to open a
configuration dialog (\FigB\ \ref{fig_driverconf}).
+
+\subsection{ALSA}
+If ALSA is selected, Traverso communicates directly with the ALSA layer, which
is only possible if no other application occupies the sound system. So before
selecting ALSA as your driver, make sure you stop playback of all other sound
applications. Also check the KDE/Gnome system tray for minimized instances of
amarok, XMMS, etc. Back in Traverso's driver configuration dialog set the
driver to \emph{ALSA}, the rate to 44100, and leave the latency. Then press
\emph{Save} and \emph{Apply} and check if the entry in the menu bar has
switched to \emph{ALSA}. If it refuses to load the new driver, your sound card
may still be occupied by another application, so check again if you correctly
stopped all multimedia applications and make sure that the sound daemon (e.\,g.
aRTs) shuts down automatically when not used. Then try again to set the driver
to ALSA. If it was accepted as a valid driver, the sound driver is set up
correctly.
+
+\subsection{Jack}
+Traverso can also connect to the jack soundserver, which provides advanced
routing features and zero-latency connections between clients. If you don't
want to use these features and ALSA works for you, there's no advantage in
using jack. We recommend to use \emph{qjackctl}, which allows to easily setup
jack for your system. Start the jack daemon by pressing \emph{Start} in
qjackctl. When it is running, set the driver in Traverso's configuration dialog
(\FigB\ \ref{fig_driverconf}) to \emph{jack} and press \emph{Save} and
\emph{Apply}. The menu bar should display \emph{jack} if the driver was loaded
correctly. Now go back to qjackctl and open the \emph{Connect} dialog.
\emph{Important:} You must set up the connection manually, otherwise you won't
hear any sound. Select the Traverso entry in the left part (``Readable
Clients''), and alsa\_pcm in the right part (``Writable Clients''), then press
\emph{connect}. If a line connecting the two clients is drawn, the sound system
is set up correctly.
+
+\begin{figure}
+ \centering\includegraphics[width=0.5\textwidth]{images/sshot02.png}
+ \caption{The audio driver backend can be selected from the menu bar. Traverso
supports ALSA, jack, and PortAudio, and has a \emph{Null Driver} as fallback
solution if no working driver is available.}
+ \label{fig_driverconf}
+\end{figure}
+
+\subsection{Port Audio}
+Port audio is the only driver backend available on Mac OS X and Microsoft
Windows. It connects to the system's native sound system (CoreAudio on OS X,
WMME on Windows). Simply select ``PortAudio'' in the driver configuration
widget, the samplerate you wish to use, and a latency that works for you.
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Index: titlepage.pdf
===================================================================
RCS file: titlepage.pdf
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Index: titlepage.sla
===================================================================
RCS file: titlepage.sla
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Index: tools.tex
===================================================================
RCS file: tools.tex
diff -N tools.tex
--- /dev/null 1 Jan 1970 00:00:00 -0000
+++ tools.tex 24 May 2007 21:45:37 -0000 1.1
@@ -0,0 +1,72 @@
+\section{Correlation Meter}
+The correlation meter monitors the stereo output of Traverso and displays the
correlation coefficient of the left and the right channel signal. Unlike many
other correlation meters it interprets the coefficient as a measure for stereo
width and draws a gradient representing the stereo field.
+
+In order to explain what correlation is and why it is important, we assume
that a pure sine wave is played back on both the left and the right master
channel. When both signals are merged (which happens if the signals are played
back in mono), the resulting signal is the sum of the left and the right
channel. Depending on the phase difference between the source signals,
interference effects occur. That is, if two positive amplitudes are summed, the
absolute value is greater, whereas if a positive and a negative amplitude are
summed, the absolute value becomes smaller. In some cases this can lead to
complete extinction, leaving nothing but a silent signal (\FigB\
\ref{fig_interference}).
+
+\begin{figure}
+ \centering\includegraphics[width=0.8\textwidth]{images/sine01}
+ \caption{When summing up two sine waves, interference can either lead
to amplification (in phase, left), remain more or less unchanged (uncorrelated,
middle), or lead to extinction (out of phase, right).}
+ \label{fig_interference}
+\end{figure}
+
+If the two audio signals contain more complex data, e.\,g. music or spoken
word, such extinction effects (also known as \emph{phase cancellations}) do not
cancel out the entire signal, but merely certain frequencies, leading to a
``hollow'' or otherwise strange sound. Needless to say that such effects are
rather devastating for a high quality audio production. Although it is
indisputable that we should use our ears and listen to the mono signal in order
to detect phase problems, computer based audio workstations allow to provide
visual feedback of the audio data in many ways, which is one of the reasons for
many users to prefer digital audio workstations. There are several ways to
visually represent the correlation, but in order to understand how to interpret
Traversos correlation meter, some more theory is required.
+
+The amount of correlation is represented in the \emph{linear correlation
coefficient} $r$, which is calculated over an array of pairs of samples
$(x_i,y_i)$:
+\[
+r = \frac{\sum\limits_{i}(x_i - \bar{x})(y_i -
\bar{y})}{\sqrt{\sum\limits_{i}(x_i - \bar{x})^2} \sqrt{\sum\limits_{i}(y_i -
\bar{y})^2}}
+\]
+$r$ ranges from $-1.0$ to $1.0$. A value of $r = 1.0$ means the left and right
signal are perfectly correlated. The master signal would be mono in that case,
since there is no phase difference between the left and the right signal. The
more difference there is between the two channels, the lower the correlation
coefficient becomes. In case of totally uncorrelated data (which could read as
``no phase similarity whatsoever between the left and right channel''), $r$
becomes 0.0. Such a signal produces a wide stereo image with a low risk of
phase cancellations when summed to mono. The difference between the signals can
be further ``increased'' by one channel becoming the inverse of the other. In
that case $r$ becomes $-1.0$. Negative $r$ values indicate high risk for phase
cancellations.
+
+The correlation meter of Traverso (menu ``Views $\rightarrow$ Correlation
meter'') uses an intuitive way to display the correlation coefficient. Instead
of focusing on the numerical value, it shows it's meaning in terms of stereo
width (\FigB\ \ref{fig_cmeter01}). A gradient spreading between the left and
the right speaker (marked by the L and R lines) indicates totally uncorrelated
signals ($r = 0.0$) and thus a very wide stereo image. As long as the gradient
does not extend beyond the L and R lines, there is no negative correlation and
hence a low risk for phase cancellations. However, if it \emph{does} extend
beyond the lines, phase cancellations are likely to occur if the signal is
summed to mono, and the stereo image sounds unnaturally wide. This should be
avoided by all means. A mono signal, on the other hand, causes the gradient to
collapse to a line in the center.
+
+\begin{figure}
+ \centering
+ \subfigure[Stereo, $r =
0.0$]{\includegraphics[width=0.7\textwidth]{images/cmeter1}}
+ \subfigure[Mono, $r =
1.0$]{\includegraphics[width=0.7\textwidth]{images/cmeter2}}
+ \subfigure[Phase cancellation, $r =
-1.0$]{\includegraphics[width=0.7\textwidth]{images/cmeter4}}
+ \caption{The correlation meter in Traverso shows the correlation
coefficient of the master output signal as a gradient between two lines
representing the left and the right channel. If the gradient spreads from L to
R, the data is uncorrelated (correlation coefficient $r = 0.0$), and the signal
has a wide stereo width (top). If the gradient is collapsed to a line, the data
is perfectly correlated ($r = 1.0$), which means the signal is mono (middle).
If the gradient spreads beyond the L and R lines, the correlation becomes
negative, which means there's a high risk of audible phase cancellations if the
output is switched to mono (bottom).}
+ \label{fig_cmeter01}
+\end{figure}
+
+The correlation meter can also be used to balance the master output. If the
levels of the left and right channel are well balanced, the gradient center
line should ``wobble'' around the center indicator.
+
+Since the gradient usually occupies the area between the L and R lines, the
space outside of the lines is wasted most of the time. Thus the scale of the
correlation meter can be changed by pressing \sact{M}.
+
+\section{FFT spectrum analyzer}
+A spectrum analyzer using the fast fourier transformation (FFT) to calculate
the spectral power distribution of an audio signal is standard equipment in
digital audio workstations. The FFT spectrum analyzer in Traverso can be opened
from the menu ``Views $\rightarrow$ FFT Spectrum''. It is a dock window which
can either be docked into the main window, or moved freely by dragging with the
mouse.
+
+The FFT spectrum analyzer monitors the stereo output channel and decomposes
the signal into frequency bands. Each band shows the highest value $dB_{left} +
dB_{right}$ in its range (\FigB\ \ref{fig_fft1}). A configuration dialog can be
called with \sact{E}, or from the menu opened with \sact{Q} or a right mouse
button click.
+
+\begin{figure}
+ \centering
+ \includegraphics[width=0.6\textwidth]{images/fft1}
+ \caption{The FFT spectrum analyzer decomposes the master output signal
into its frequencies.}
+ \label{fig_fft1}
+\end{figure}
+
+The configuration dialog shown in \FigT\ \ref{fig_fft3} allows to define the
dB- and frequency range to be displayed. The audible spectrum ranges from 20 to
approximately 18000 Hz, whereas CDs range from 20 to 22050 Hz. These are thus
recommended values for the lower and upper frequency limit. The upper limit for
dB values on the y axis is usually in the range from $-6$ to $+6$ dB, the lower
limit between $-60$ and $-120$ dB. The number of bands can be chosen freely,
but high numbers ($\geq 128$) cause significantly higher CPU load.
+
+The feature ``show average spectrum'' activates a curve which calculates the
average frequency spectrum by accumulating the values as long as Traverso is
playing back. The curve is reset if playback is restarted or by the key action
\sact{L}. The average curve can also be toggled by the key action \sact{M}, and
as soon as there is average data available, the curve can be exported either as
raw numbers, or in \texttt{grace} format, which can be opened with the program
XmGrace (key action \dact{Return}).
+
+Parameters related to the FFT calculation can be configured in the section
``Advanced Options''. The FFT size determines the lower end of the spectrum;
larger FFTs extend to lower frequencies, but cause more CPU load. The lowest
frequency captured by the FFT is calculated as:
+\[
+f_{min} = \frac{\textrm{Samplerate}}{\textrm{FFT size}}
+\]
+The \emph{lowest} frequency of an FFT of 1024 samples from an audio signal
sampled at 44100~Hz is thus 43.1~Hz. Increasing the FFT size to 2048 samples
increases the range to 21.5~Hz. The \emph{highest} frequency captured by an FFT
is
+\[
+f_{max} = 0.5 \cdot \textrm{Samplerate}
+\]
+For audio data sampled at 44100~Hz the upper limit is thus fixed at 22050~Hz.
+
+The windowing function is highly FFT specific and it is beyond the scope of
this document to explain it in detail. Users who don't have a particular reason
to use a different function are adviced to use the ``Hanning'' window.
+
+\begin{figure}
+ \centering
+ \includegraphics[width=0.7\textwidth]{images/fft3}
+ \caption{A configuration dialog called with \sact{E} allows to
configure many parameters of the FFT spectrum analyzer.}
+ \label{fig_fft3}
+\end{figure}
+
+\emph{Note:} For very large FFT sizes the update rate of the spectrum analyzer
becomes low. This is not necessarily caused by CPU overload (although CPU load
becomes higher for larger FFT sizes), but by the fact that it takes some time
to fill the buffers with such large amounts of data. The widget waits until the
buffers are full before updating the display.
+
+
Index: traverso-manual01.pdf
===================================================================
RCS file: traverso-manual01.pdf
diff -N traverso-manual01.pdf
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