[musicians-guide/f16] prepared translations for f16
Christopher Antila
crantila at fedoraproject.org
Wed Sep 14 17:20:12 UTC 2011
commit 5646cce913afdcec3eabea63623684ab39266a43
Author: Christopher Antila <crantila at fedoraproject.org>
Date: Wed Sep 14 13:19:49 2011 -0400
prepared translations for f16
.directory | 5 +-
.tx/config | 148 +
as-IN/Ardour.po | 2078 ++++++++--
bn-IN/Ardour.po | 2080 ++++++++--
cs-CZ/Ardour.po | 2078 ++++++++--
de-DE/Ardour.po | 2078 ++++++++--
el-GR/Ardour.po | 2078 ++++++++--
es-ES/Ardour.po | 2078 ++++++++--
gu-IN/Ardour.po | 2078 ++++++++--
hi-IN/Ardour.po | 2078 ++++++++--
it-IT/Ardour.po | 2078 ++++++++--
ja-JP/Ardour.po | 3122 ++++++++++++---
kn-IN/Ardour.po | 2078 ++++++++--
ml-IN/Ardour.po | 2078 ++++++++--
mr-IN/Ardour.po | 2078 ++++++++--
nl-NL/Ardour.po | 4251 ++++++++++++++++----
or-IN/Ardour.po | 2078 ++++++++--
pa-IN/Ardour.po | 2078 ++++++++--
pl-PL/Ardour.po | 2078 ++++++++--
pot/Ardour.pot | 4 +-
pot/Audacity.pot | 4 +-
pot/Audio_Vocabulary.pot | 4 +-
pot/Author_Group.pot | 4 +-
pot/Book_Info.pot | 4 +-
pot/Chapter.pot | 4 +-
pot/Contributors.pot | 4 +-
pot/Digital_Audio_Workstations.pot | 4 +-
pot/FluidSynth.pot | 4 +-
pot/Frescobaldi.pot | 4 +-
pot/LilyPond/LilyPond-counterpoint.pot | 4 +-
pot/LilyPond/LilyPond-orchestra.pot | 4 +-
pot/LilyPond/LilyPond-piano.pot | 4 +-
pot/LilyPond/LilyPond-syntax.pot | 4 +-
pot/LilyPond/LilyPond.pot | 4 +-
pot/Musicians_Guide.pot | 4 +-
pot/Planet_CCRMA_at_Home.pot | 4 +-
pot/Preface.pot | 4 +-
pot/Qtractor.pot | 4 +-
pot/Real_Time_and_Low_Latency.pot | 4 +-
pot/Revision_History.pot | 4 +-
pot/Rosegarden.pot | 4 +-
pot/Solfege.pot | 4 +-
pot/Sound_Cards.pot | 4 +-
pot/Sound_Servers.pot | 4 +-
.../SuperCollider-Basic_Programming.pot | 4 +-
pot/SuperCollider/SuperCollider-Composing.pot | 4 +-
pot/SuperCollider/SuperCollider-Exporting.pot | 4 +-
pot/SuperCollider/SuperCollider.pot | 4 +-
pt-BR/Ardour.po | 2080 ++++++++--
pt-PT/Ardour.po | 2078 ++++++++--
sr-RS/Ardour.po | 2078 ++++++++--
sv-SE/Ardour.po | 2078 ++++++++--
ta-IN/Ardour.po | 2078 ++++++++--
te-IN/Ardour.po | 2078 ++++++++--
uk-UA/Ardour.po | 2078 ++++++++--
zh-CN/Ardour.po | 2080 ++++++++--
zh-TW/Ardour.po | 2080 ++++++++--
57 files changed, 46864 insertions(+), 10658 deletions(-)
---
diff --git a/.directory b/.directory
index 8acd845..7048e67 100644
--- a/.directory
+++ b/.directory
@@ -1,5 +1,6 @@
[Dolphin]
-Timestamp=2010,12,23,17,16,45
+Timestamp=2011,9,14,12,39,40
+Version=2
[Settings]
-ShowDotFiles=false
+ShowDotFiles=true
diff --git a/.tx/config b/.tx/config
new file mode 100644
index 0000000..788e683
--- /dev/null
+++ b/.tx/config
@@ -0,0 +1,148 @@
+[main]
+host = https://www.transifex.net
+
+[fedora-musicians-guide.Ardour]
+file_filter = <lang>/Ardour.po
+source_file = pot/Ardour.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Audacity]
+file_filter = <lang>/Audacity.po
+source_file = pot/Audacity.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Audio_Vocabulary]
+file_filter = <lang>/Audio_Vocabulary.po
+source_file = pot/Audio_Vocabulary.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Author_Group]
+file_filter = <lang>/Author_Group.po
+source_file = pot/Author_Group.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Book_Info]
+file_filter = <lang>/Book_Info.po
+source_file = pot/Book_Info.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Chapter]
+file_filter = <lang>/Chapter.po
+source_file = pot/Chapter.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Contributors]
+file_filter = <lang>/Contributors.po
+source_file = pot/Contributors.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Digital_Audio_Workstations]
+file_filter = <lang>/Digital_Audio_Workstations.po
+source_file = pot/Digital_Audio_Workstations.pot
+source_lang = en_US
+
+[fedora-musicians-guide.FluidSynth]
+file_filter = <lang>/FluidSynth.po
+source_file = pot/FluidSynth.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Frescobaldi]
+file_filter = <lang>/Frescobaldi.po
+source_file = pot/Frescobaldi.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Musicians_Guide]
+file_filter = <lang>/Musicians_Guide.po
+source_file = pot/Musicians_Guide.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Planet_CCRMA_at_Home]
+file_filter = <lang>/Planet_CCRMA_at_Home.po
+source_file = pot/Planet_CCRMA_at_Home.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Preface]
+file_filter = <lang>/Preface.po
+source_file = pot/Preface.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Qtractor]
+file_filter = <lang>/Qtractor.po
+source_file = pot/Qtractor.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Real_Time_and_Low_Latency]
+file_filter = <lang>/Real_Time_and_Low_Latency.po
+source_file = pot/Real_Time_and_Low_Latency.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Revision_History]
+file_filter = <lang>/Revision_History.po
+source_file = pot/Revision_History.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Rosegarden]
+file_filter = <lang>/Rosegarden.po
+source_file = pot/Rosegarden.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Solfege]
+file_filter = <lang>/Solfege.po
+source_file = pot/Solfege.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Sound_Cards]
+file_filter = <lang>/Sound_Cards.po
+source_file = pot/Sound_Cards.pot
+source_lang = en_US
+
+[fedora-musicians-guide.Sound_Servers]
+file_filter = <lang>/Sound_Servers.po
+source_file = pot/Sound_Servers.pot
+source_lang = en_US
+
+[fedora-musicians-guide.LilyPond-counterpoint]
+file_filter = <lang>/LilyPond/LilyPond-counterpoint.po
+source_file = pot/LilyPond/LilyPond-counterpoint.pot
+source_lang = en_US
+
+[fedora-musicians-guide.LilyPond-orchestra]
+file_filter = <lang>/LilyPond/LilyPond-orchestra.po
+source_file = pot/LilyPond/LilyPond-orchestra.pot
+source_lang = en_US
+
+[fedora-musicians-guide.LilyPond-piano]
+file_filter = <lang>/LilyPond/LilyPond-piano.po
+source_file = pot/LilyPond/LilyPond-piano.pot
+source_lang = en_US
+
+[fedora-musicians-guide.LilyPond-syntax]
+file_filter = <lang>/LilyPond/LilyPond-syntax.po
+source_file = pot/LilyPond/LilyPond-syntax.pot
+source_lang = en_US
+
+[fedora-musicians-guide.LilyPond]
+file_filter = <lang>/LilyPond/LilyPond.po
+source_file = pot/LilyPond/LilyPond.pot
+source_lang = en_US
+
+[fedora-musicians-guide.SuperCollider-Basic_Programming]
+file_filter = <lang>/SuperCollider/SuperCollider-Basic_Programming.po
+source_file = pot/SuperCollider/SuperCollider-Basic_Programming.pot
+source_lang = en_US
+
+[fedora-musicians-guide.SuperCollider-Composing]
+file_filter = <lang>/SuperCollider/SuperCollider-Composing.po
+source_file = pot/SuperCollider/SuperCollider-Composing.pot
+source_lang = en_US
+
+[fedora-musicians-guide.SuperCollider-Exporting]
+file_filter = <lang>/SuperCollider/SuperCollider-Exporting.po
+source_file = pot/SuperCollider/SuperCollider-Exporting.pot
+source_lang = en_US
+
+[fedora-musicians-guide.SuperCollider]
+file_filter = <lang>/SuperCollider/SuperCollider.po
+source_file = pot/SuperCollider/SuperCollider.pot
+source_lang = en_US
+
diff --git a/as-IN/Ardour.po b/as-IN/Ardour.po
index 617ff93..8e9b957 100644
--- a/as-IN/Ardour.po
+++ b/as-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: as_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/bn-IN/Ardour.po b/bn-IN/Ardour.po
index 617ff93..dcd46eb 100644
--- a/bn-IN/Ardour.po
+++ b/bn-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Language-Team: Bengali (India) <anubad at lists.ankur.org.in>\n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: bn_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/cs-CZ/Ardour.po b/cs-CZ/Ardour.po
index 617ff93..a919fef 100644
--- a/cs-CZ/Ardour.po
+++ b/cs-CZ/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: cs_CZ\n"
+"Plural-Forms: nplurals=3; plural=(n==1) ? 0 : (n>=2 && n<=4) ? 1 : 2\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/de-DE/Ardour.po b/de-DE/Ardour.po
index 617ff93..a4c5f51 100644
--- a/de-DE/Ardour.po
+++ b/de-DE/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:10+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: de_DE\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/el-GR/Ardour.po b/el-GR/Ardour.po
index 617ff93..49ed86c 100644
--- a/el-GR/Ardour.po
+++ b/el-GR/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: el_GR\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/es-ES/Ardour.po b/es-ES/Ardour.po
index 617ff93..ef109da 100644
--- a/es-ES/Ardour.po
+++ b/es-ES/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: es_ES\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/gu-IN/Ardour.po b/gu-IN/Ardour.po
index 617ff93..34d67ca 100644
--- a/gu-IN/Ardour.po
+++ b/gu-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:08+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: gu_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/hi-IN/Ardour.po b/hi-IN/Ardour.po
index 617ff93..c2be160 100644
--- a/hi-IN/Ardour.po
+++ b/hi-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:10+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: hi_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/it-IT/Ardour.po b/it-IT/Ardour.po
index 617ff93..fab3279 100644
--- a/it-IT/Ardour.po
+++ b/it-IT/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: it_IT\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/ja-JP/Ardour.po b/ja-JP/Ardour.po
index 0224ec4..ed3f00f 100644
--- a/ja-JP/Ardour.po
+++ b/ja-JP/Ardour.po
@@ -1,17 +1,19 @@
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
# <kanda.motohiro at gmail.com>, 2011.
msgid ""
msgstr ""
"Project-Id-Version: Fedora Musicians' Guide\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-07-24 12:05+0000\n"
-"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
-"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
-"Language: ja_JP\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 16:56+0000\n"
+"Last-Translator: crantila <crantila at fedoraproject.org>\n"
+"Language-Team: None\n"
"MIME-Version: 1.0\n"
"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
"Plural-Forms: nplurals=1; plural=0\n"
#. Tag: title
@@ -21,8 +23,11 @@ msgstr "Ardour"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
-msgstr "<application>Ardour</application> ã¯ãƒžãƒ«ãƒãƒˆãƒ©ãƒƒã‚¯éŒ²éŸ³ã®ãŸã‚ã«è¨è¨ˆã•ã‚ŒãŸè±Šå¯Œãªæ©Ÿèƒ½ã‚’æŒã¤ã‚¢ãƒ—リケーションã§ã™ã€‚"
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
+msgstr ""
+"<application>Ardour</application> ã¯ãƒžãƒ«ãƒãƒˆãƒ©ãƒƒã‚¯éŒ²éŸ³ã®ãŸã‚ã«è¨è¨ˆã•ã‚ŒãŸè±Šå¯Œãªæ©Ÿèƒ½ã‚’æŒã¤ã‚¢ãƒ—リケーションã§ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -36,8 +41,14 @@ msgstr "å‰æ知è˜"
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
-msgstr "<application>Ardour</application> ã®ãƒ¦ãƒ¼ã‚¶ã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã¯ä»–ã® DAW ã«ä¼¼ã¦ã„ã¾ã™ã€‚ã‚‚ã—ã‚ãªãŸãŒ DAW を使ã£ãŸã“ã¨ãŒãªã‘ã‚Œã°ã€<xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> ã‚’èªã‚€ã“ã¨ã‚’ãŠå‹§ã‚ã—ã¾ã™ã€‚"
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
+msgstr ""
+"<application>Ardour</application> ã®ãƒ¦ãƒ¼ã‚¶ã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã¯ä»–ã® DAW ã«ä¼¼ã¦ã„ã¾ã™ã€‚ã‚‚ã—ã‚ãªãŸãŒ DAW "
+"を使ã£ãŸã“ã¨ãŒãªã‘ã‚Œã°ã€<xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> "
+"ã‚’èªã‚€ã“ã¨ã‚’ãŠå‹§ã‚ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -46,8 +57,18 @@ msgstr "ソフトウエアè¦ä»¶"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
-msgstr "<application>Ardour</application> 㯠<systemitem>JACK Audio Connection Kit</systemitem> を使ã„ã¾ã™ã€‚ <application>Ardour</application> をインストールã™ã‚‹å‰ã«ã€<systemitem>JACK</systemitem> をインストール下ã•ã„。<systemitem>JACK</systemitem> をインストールã™ã‚‹ã«ã¯ã€<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> ã®æ‰‹é †ã«å¾“ã£ã¦ãã ã•ã„。"
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
+msgstr ""
+"<application>Ardour</application> 㯠<systemitem>JACK Audio Connection "
+"Kit</systemitem> を使ã„ã¾ã™ã€‚ <application>Ardour</application> "
+"をインストールã™ã‚‹å‰ã«ã€<systemitem>JACK</systemitem> "
+"をインストール下ã•ã„。<systemitem>JACK</systemitem> をインストールã™ã‚‹ã«ã¯ã€<xref linkend=\"sect-"
+"Musicians_Guide-Install_and_Configure_JACK\" /> ã®æ‰‹é †ã«å¾“ã£ã¦ãã ã•ã„。"
#. Tag: title
#, no-c-format
@@ -56,8 +77,20 @@ msgstr "ãƒãƒ¼ãƒ‰ã‚¦ã‚¨ã‚¢è¦ä»¶"
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
-msgstr "<application>Ardour</application> を使ã†ã«ã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ãŒå¿…è¦ã§ã™ã€‚<application>Ardour</application> ã§ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’録音ã™ã‚‹ã«ã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã«æŽ¥ç¶šã•ã‚ŒãŸãƒžã‚¤ã‚¯ãŒå°‘ãªãã¦ã‚‚１ã¤å¿…è¦ã§ã™ã€‚<application>FluidSynth</application> ã‚„ <application>SuperCollider</application> ã®ã‚ˆã†ãªã€JACK 対応プãƒã‚°ãƒ©ãƒ ã‹ã‚‰ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªä¿¡å·ã‚’録音ã™ã‚‹ã«ã¯ã€ãƒžã‚¤ã‚¯ã¯å¿…è¦ã‚ã‚Šã¾ã›ã‚“。"
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
+msgstr ""
+"<application>Ardour</application> "
+"を使ã†ã«ã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ãŒå¿…è¦ã§ã™ã€‚<application>Ardour</application> "
+"ã§ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’録音ã™ã‚‹ã«ã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã«æŽ¥ç¶šã•ã‚ŒãŸãƒžã‚¤ã‚¯ãŒå°‘ãªãã¦ã‚‚１ã¤å¿…è¦ã§ã™ã€‚<application>FluidSynth</application>"
+" ã‚„ <application>SuperCollider</application> ã®ã‚ˆã†ãªã€JACK "
+"対応プãƒã‚°ãƒ©ãƒ ã‹ã‚‰ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªä¿¡å·ã‚’録音ã™ã‚‹ã«ã¯ã€ãƒžã‚¤ã‚¯ã¯å¿…è¦ã‚ã‚Šã¾ã›ã‚“。"
#. Tag: title
#, no-c-format
@@ -66,8 +99,15 @@ msgstr "インストール"
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
-msgstr "<application>PackageKit</application> ã‚ã‚‹ã„㯠<application>KPackageKit</application> を使ã£ã¦ <package>ardour</package> パッケージをインストールã—ã¾ã™ã€‚ä»–ã®å¿…è¦ãªã‚½ãƒ•ãƒˆã‚¦ã‚¨ã‚¢ã¯è‡ªå‹•çš„ã«ã‚¤ãƒ³ã‚¹ãƒˆãƒ¼ãƒ«ã•ã‚Œã¾ã™ã€‚"
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
+msgstr ""
+"<application>PackageKit</application> ã‚ã‚‹ã„㯠"
+"<application>KPackageKit</application> を使ã£ã¦ <package>ardour</package> "
+"パッケージをインストールã—ã¾ã™ã€‚ä»–ã®å¿…è¦ãªã‚½ãƒ•ãƒˆã‚¦ã‚¨ã‚¢ã¯è‡ªå‹•çš„ã«ã‚¤ãƒ³ã‚¹ãƒˆãƒ¼ãƒ«ã•ã‚Œã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -76,8 +116,15 @@ msgstr "セッションを録音ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
-msgstr "セッションã®éŒ²éŸ³ã¯é€šå¸¸ã¯å…¨éƒ¨ã€ä¸€åº¦ã«è¡Œã‚ã‚Œã¾ã™ã€‚ã—ã‹ã—ã€ã¨ãã«ã¯éŒ²éŸ³ã¯ä½•æ—¥ã‚ã‚‹ã„ã¯ä½•é€±é–“ã«ã‚‚ã‚ãŸã£ã¦è¡Œã‚れるã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚ミã‚シングã¨ãƒžã‚¹ã‚¿ãƒªãƒ³ã‚°ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãŒéŒ²éŸ³ã•ã‚ŒãŸå¾Œã§è¡Œã‚ã‚Œã¾ã™ã€‚セッションをオープンã™ã‚‹æ™‚ã«ã€æ¯Žå›žã€<systemitem>JACK</systemitem> ã®ã‚µãƒ³ãƒ—ルレートã¨ã‚µãƒ³ãƒ—ルフォーマットã®è¨å®šã¯åŒã˜ã§ãªã‘ã‚Œã°ã„ã‘ãªã„ã“ã¨ã«æ³¨æ„下ã•ã„。"
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
+msgstr ""
+"セッションã®éŒ²éŸ³ã¯é€šå¸¸ã¯å…¨éƒ¨ã€ä¸€åº¦ã«è¡Œã‚ã‚Œã¾ã™ã€‚ã—ã‹ã—ã€ã¨ãã«ã¯éŒ²éŸ³ã¯ä½•æ—¥ã‚ã‚‹ã„ã¯ä½•é€±é–“ã«ã‚‚ã‚ãŸã£ã¦è¡Œã‚れるã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚ミã‚シングã¨ãƒžã‚¹ã‚¿ãƒªãƒ³ã‚°ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãŒéŒ²éŸ³ã•ã‚ŒãŸå¾Œã§è¡Œã‚ã‚Œã¾ã™ã€‚セッションをオープンã™ã‚‹æ™‚ã«ã€æ¯Žå›žã€<systemitem>JACK</systemitem>"
+" ã®ã‚µãƒ³ãƒ—ルレートã¨ã‚µãƒ³ãƒ—ルフォーマットã®è¨å®šã¯åŒã˜ã§ãªã‘ã‚Œã°ã„ã‘ãªã„ã“ã¨ã«æ³¨æ„下ã•ã„。"
#. Tag: title
#, no-c-format
@@ -86,13 +133,30 @@ msgstr "<application>Ardour</application> を実行ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
-msgstr "<application>Ardour</application> 㯠<systemitem>JACK</systemitem> サウンドサーãƒã‚’使ã„ã¾ã™ã€‚<application>Ardour</application> ã®å‰ã« <application>QjackCtl</application> を使ã£ã¦ <systemitem>JACK</systemitem> を開始ã—ã¦ãã ã•ã„。ã‚ã‚‹ã„㯠<application>Ardour</application> 㯠<systemitem>JACK</systemitem> ã‚’ã‚ãªãŸã®ä»£ã‚ã‚Šã«é–‹å§‹ã—ã¾ã™ã€‚"
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
+msgstr ""
+"<application>Ardour</application> 㯠<systemitem>JACK</systemitem> "
+"サウンドサーãƒã‚’使ã„ã¾ã™ã€‚<application>Ardour</application> ã®å‰ã« "
+"<application>QjackCtl</application> を使ã£ã¦ <systemitem>JACK</systemitem> "
+"を開始ã—ã¦ãã ã•ã„。ã‚ã‚‹ã„㯠<application>Ardour</application> 㯠"
+"<systemitem>JACK</systemitem> ã‚’ã‚ãªãŸã®ä»£ã‚ã‚Šã«é–‹å§‹ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
-msgstr "<application>Ardour</application> ã¯æ–°ã—ã„セッションをä¿å˜ã™ã‚‹å ´æ‰€ã‚’é¸æŠžã™ã‚‹ã‚ˆã†ã«èžã„ã¦ãã¾ã™ã€‚<application>Ardour</application> ã¯ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ãƒ•ã‚¡ã‚¤ãƒ«ã‚’ä¿å˜ã™ã‚‹ãƒ‡ã‚£ãƒ¬ã‚¯ãƒˆãƒªã‚’自動的ã«ä½œæˆã—ã¾ã™ã€‚æ—¢å˜ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’é–‹ãã“ã¨ã‚‚ã§ãã¾ã™ã€‚"
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
+msgstr ""
+"<application>Ardour</application> "
+"ã¯æ–°ã—ã„セッションをä¿å˜ã™ã‚‹å ´æ‰€ã‚’é¸æŠžã™ã‚‹ã‚ˆã†ã«èžã„ã¦ãã¾ã™ã€‚<application>Ardour</application> "
+"ã¯ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ãƒ•ã‚¡ã‚¤ãƒ«ã‚’ä¿å˜ã™ã‚‹ãƒ‡ã‚£ãƒ¬ã‚¯ãƒˆãƒªã‚’自動的ã«ä½œæˆã—ã¾ã™ã€‚æ—¢å˜ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’é–‹ãã“ã¨ã‚‚ã§ãã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -101,8 +165,15 @@ msgstr "インタフェース"
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
-msgstr "ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã¯ <application>Ardour</application> ã«ç‰¹æœ‰ã®ã„ãã¤ã‹ã®ã‚°ãƒ©ãƒ•ã‚£ã‚«ãƒ«ã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã‚³ãƒ³ãƒãƒ¼ãƒãƒ³ãƒˆã‚’説明ã—ã¾ã™ã€‚ã»ã¨ã‚“ã©ã® DAW ã§åŒã˜ã‚ˆã†ã«ä½¿ã‚れるコンãƒãƒ¼ãƒãƒ³ãƒˆã¯ã€<xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" /> ã§èª¬æ˜Žã•ã‚Œã¦ã„ã¾ã™ã€‚"
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
+msgstr ""
+"ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã¯ <application>Ardour</application> "
+"ã«ç‰¹æœ‰ã®ã„ãã¤ã‹ã®ã‚°ãƒ©ãƒ•ã‚£ã‚«ãƒ«ã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã‚³ãƒ³ãƒãƒ¼ãƒãƒ³ãƒˆã‚’説明ã—ã¾ã™ã€‚ã»ã¨ã‚“ã©ã® DAW ã§åŒã˜ã‚ˆã†ã«ä½¿ã‚れるコンãƒãƒ¼ãƒãƒ³ãƒˆã¯ã€<xref "
+"linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" /> ã§èª¬æ˜Žã•ã‚Œã¦ã„ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -131,8 +202,15 @@ msgstr "メインツールãƒãƒ¼"
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
-msgstr "<xref linkend=\"ardour_interface_overview\" /> ã¯ã€Ardour インタフェースã«å›ºæœ‰ã®ï¼“ã¤ã®ã‚°ãƒ©ãƒ•ã‚£ã‚«ãƒ«ã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã‚’説明ã—ã¾ã™ã€‚<firstterm> エディタミã‚サー </firstterm>ã€<firstterm> セッションサイドãƒãƒ¼ </firstterm>ã€ãã—ã¦ãƒ¡ã‚¤ãƒ³ãƒ„ールãƒãƒ¼ã§ã™ã€‚"
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
+msgstr ""
+"<xref linkend=\"ardour_interface_overview\" /> ã¯ã€Ardour "
+"インタフェースã«å›ºæœ‰ã®ï¼“ã¤ã®ã‚°ãƒ©ãƒ•ã‚£ã‚«ãƒ«ã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã‚’説明ã—ã¾ã™ã€‚<firstterm> エディタミã‚サー "
+"</firstterm>ã€<firstterm> セッションサイドãƒãƒ¼ </firstterm>ã€ãã—ã¦ãƒ¡ã‚¤ãƒ³ãƒ„ールãƒãƒ¼ã§ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -171,8 +249,18 @@ msgstr "出力コãƒã‚¯ã‚·ãƒ§ãƒ³ãƒœã‚¿ãƒ³"
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
-msgstr "<xref linkend=\"ardour_interface_editor_mixer\" /> ã¯ã€<application>Ardour</application> メインウインドウã®å·¦ã«ã‚るエディタミã‚サーを示ã—ã¾ã™ã€‚エディタミã‚サーã¯ã€ä¸€åº¦ã«ï¼‘ã¤ã ã‘ã®ãƒŸã‚サーストリップを表示ã—ã¾ã™ã€‚ミã‚サーストリップã®ä¸é–“ã«ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã€ä¸€ç•ªä¸‹ã«ãƒ‘ンナーã¨ãã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã€ãã—㦠<guibutton>Comments</guibutton> ã¨å‡ºåŠ›ã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ãƒœã‚¿ãƒ³ãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
+msgstr ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> "
+"ã¯ã€<application>Ardour</application> "
+"メインウインドウã®å·¦ã«ã‚るエディタミã‚サーを示ã—ã¾ã™ã€‚エディタミã‚サーã¯ã€ä¸€åº¦ã«ï¼‘ã¤ã ã‘ã®ãƒŸã‚サーストリップを表示ã—ã¾ã™ã€‚ミã‚サーストリップã®ä¸é–“ã«ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã€ä¸€ç•ªä¸‹ã«ãƒ‘ンナーã¨ãã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã€ãã—ã¦"
+" <guibutton>Comments</guibutton> ã¨å‡ºåŠ›ã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ãƒœã‚¿ãƒ³ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -196,8 +284,20 @@ msgstr "リージョンリスト"
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
-msgstr "<xref linkend=\"ardour_interface_session_sidebar\" /> ã¯ã€<application>Ardour</application> ã®ãƒ¡ã‚¤ãƒ³ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã®å³ã«ã‚るセッションサイドãƒãƒ¼ã§ã™ã€‚ã“ã®å›³ã§ã¯ã€<guilabel>Regions</guilabel> タブãŒé¸æŠžã•ã‚Œã¦ã„ã‚‹ã®ã§ã€ã‚µã‚¤ãƒ‰ãƒãƒ¼ã«ã¯ã€ç¾åœ¨ã‚»ãƒƒã‚·ãƒ§ãƒ³ã«ã‚るリージョンã®ãƒªã‚¹ãƒˆãŒè¡¨ç¤ºã•ã‚Œã¦ã„ã¾ã™ã€‚é’ã„ã‚‚ã®ã¯ç›´æŽ¥ã‚¤ãƒ³ãƒãƒ¼ãƒˆã•ã‚ŒãŸã‚‚ã®ã€ç™½ã„ã‚‚ã®ã¯é’ã„リージョンã‹ã‚‰ä½œæˆã•ã‚ŒãŸã‚‚ã®ã€ãã—ã¦ã„ãã¤ã‹ã®é’ã„リージョンã®å·¦ã«ã‚る矢å°ã¯ã“れらã®é’ã„リージョンã«å¯¾å¿œã™ã‚‹ç™½ã„サブリージョンãŒã‚ã‚‹ã“ã¨ã‚’示ã—ã¾ã™ã€‚"
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
+msgstr ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> "
+"ã¯ã€<application>Ardour</application> "
+"ã®ãƒ¡ã‚¤ãƒ³ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã®å³ã«ã‚るセッションサイドãƒãƒ¼ã§ã™ã€‚ã“ã®å›³ã§ã¯ã€<guilabel>Regions</guilabel> "
+"タブãŒé¸æŠžã•ã‚Œã¦ã„ã‚‹ã®ã§ã€ã‚µã‚¤ãƒ‰ãƒãƒ¼ã«ã¯ã€ç¾åœ¨ã‚»ãƒƒã‚·ãƒ§ãƒ³ã«ã‚るリージョンã®ãƒªã‚¹ãƒˆãŒè¡¨ç¤ºã•ã‚Œã¦ã„ã¾ã™ã€‚é’ã„ã‚‚ã®ã¯ç›´æŽ¥ã‚¤ãƒ³ãƒãƒ¼ãƒˆã•ã‚ŒãŸã‚‚ã®ã€ç™½ã„ã‚‚ã®ã¯é’ã„リージョンã‹ã‚‰ä½œæˆã•ã‚ŒãŸã‚‚ã®ã€ãã—ã¦ã„ãã¤ã‹ã®é’ã„リージョンã®å·¦ã«ã‚る矢å°ã¯ã“れらã®é’ã„リージョンã«å¯¾å¿œã™ã‚‹ç™½ã„サブリージョンãŒã‚ã‚‹ã“ã¨ã‚’示ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -241,8 +341,25 @@ msgstr "edit point"
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
-msgstr "<xref linkend=\"ardour_interface_toolbar\" /> ã¯ã€ãƒ¡ã‚¤ãƒ³ãƒ„ールãƒãƒ¼ã§ã™ã€‚ãã‚Œã¯ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã®ä¸‹ã€ã‚¿ã‚¤ãƒ ラインã¨ãã®ãƒ«ãƒ¼ãƒ©ãƒ¼ã®ä¸Šã«ã‚ã‚Šã¾ã™ã€‚ツールãƒãƒ¼ã®ä¸é–“ã«ã¯ã€ï¼“ã¤ã®ãƒ©ãƒ™ãƒ«ã®ä»˜ã„ã¦ã„ãªã„ã€ã—ã‹ã—ã¨ã¦ã‚‚å½¹ã«ç«‹ã¤è¤‡æ•°é¸æŠžå¯èƒ½ãªãƒ¡ãƒ‹ãƒ¥ãƒ¼ãŒã‚ã‚Šã¾ã™ï¼š <guimenu>snap mode</guimenu> メニュー（ç¾åœ¨ã€<literal>No Grid</literal> ã§ã™ï¼‰ã€‚<guimenu>grid mode</guimenu> メニュー（ç¾åœ¨ã€<literal>Bars</literal> ã§ã™ï¼‰ã€‚ãã—㦠<guimenu>edit point</guimenu> メニュー（ç¾åœ¨ã€<literal>Mouse</literal> ã§ã™ï¼‰ã€‚ã“れらメニューã®å·¦ã«ã¯ã€ãƒ„ールé¸æŠžãƒœã‚¿ãƒ³ãŒã‚ã‚Šã€ãã®ä¸ã§é‡è¦ãªã®ã¯ã€æœ€ã‚‚å·¦ã«ã‚ã‚‹ï¼’ã¤ã€<guibutton>select/edit object</guibutton> 㨠<guibutton>select/edit range</guibutton> ボタンã§ã™ã€‚"
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgstr ""
+"<xref linkend=\"ardour_interface_toolbar\" /> "
+"ã¯ã€ãƒ¡ã‚¤ãƒ³ãƒ„ールãƒãƒ¼ã§ã™ã€‚ãã‚Œã¯ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã®ä¸‹ã€ã‚¿ã‚¤ãƒ ラインã¨ãã®ãƒ«ãƒ¼ãƒ©ãƒ¼ã®ä¸Šã«ã‚ã‚Šã¾ã™ã€‚ツールãƒãƒ¼ã®ä¸é–“ã«ã¯ã€ï¼“ã¤ã®ãƒ©ãƒ™ãƒ«ã®ä»˜ã„ã¦ã„ãªã„ã€ã—ã‹ã—ã¨ã¦ã‚‚å½¹ã«ç«‹ã¤è¤‡æ•°é¸æŠžå¯èƒ½ãªãƒ¡ãƒ‹ãƒ¥ãƒ¼ãŒã‚ã‚Šã¾ã™ï¼š"
+" <guimenu>snap mode</guimenu> メニュー（ç¾åœ¨ã€<literal>No Grid</literal> "
+"ã§ã™ï¼‰ã€‚<guimenu>grid mode</guimenu> メニュー（ç¾åœ¨ã€<literal>Bars</literal> ã§ã™ï¼‰ã€‚ãã—㦠"
+"<guimenu>edit point</guimenu> メニュー（ç¾åœ¨ã€<literal>Mouse</literal> "
+"ã§ã™ï¼‰ã€‚ã“れらメニューã®å·¦ã«ã¯ã€ãƒ„ールé¸æŠžãƒœã‚¿ãƒ³ãŒã‚ã‚Šã€ãã®ä¸ã§é‡è¦ãªã®ã¯ã€æœ€ã‚‚å·¦ã«ã‚ã‚‹ï¼’ã¤ã€<guibutton>select/edit "
+"object</guibutton> 㨠<guibutton>select/edit range</guibutton> ボタンã§ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -250,24 +367,35 @@ msgid "Setting up the Timeline"
msgstr "タイムラインをè¨å®šã™ã‚‹"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
-msgstr "メイン <application>Ardour</application> ウインドウã®ä¸€ç•ªä¸Šã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆãƒ„ールãƒãƒ¼ã®å³ã«ã€ï¼’ã¤ã®æ¯”較的大ããªæ™‚計ãŒã‚ã‚Šã¾ã™ã€‚表示を変ãˆã‚‹ã«ã¯ã€å³ã‚¯ãƒªãƒƒã‚¯ã—ã¾ã™ã€‚"
+#, no-c-format
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr "<guimenuitem>Bars:Beats</guimenuitem> ã¯ã€å°ç¯€ã¨æ‹ã‚’表示ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr "<guimenuitem>Minutes:Seconds</guimenuitem> ã¯ãƒˆãƒ©ãƒƒã‚¯å…ˆé ã‹ã‚‰ã®æ™‚間を示ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
-msgstr "<guimenuitem>Timecode</guimenuitem> ã¯ãƒ•ãƒ¬ãƒ¼ãƒ ï¼ç§’ã®ã‚¿ã‚¤ãƒ コード（通常ã€ãƒ•ã‚£ãƒ«ãƒ ã®ä½œæ¥ã‚’ã™ã‚‹ã¨ãã«ä½¿ã‚ã‚Œã¾ã™ï¼‰ã‚’示ã—ã¾ã™ã€‚"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
+msgstr ""
+"<guimenuitem>Timecode</guimenuitem> "
+"ã¯ãƒ•ãƒ¬ãƒ¼ãƒ ï¼ç§’ã®ã‚¿ã‚¤ãƒ コード（通常ã€ãƒ•ã‚£ãƒ«ãƒ ã®ä½œæ¥ã‚’ã™ã‚‹ã¨ãã«ä½¿ã‚ã‚Œã¾ã™ï¼‰ã‚’示ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -276,13 +404,21 @@ msgstr "<guimenuitem>Samples</guimenuitem> ã¯é–‹å§‹ã‹ã‚‰ã®ã‚µãƒ³ãƒ—ル数を
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
-msgstr "<guimenu>snap mode</guimenu> メニューã¯ã‚¿ã‚¤ãƒ ラインã¨æ™‚計ã®é–“ã«ã‚ã‚Šã¾ã™ã€‚ã“ã®ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã¯ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒç§»å‹•ã§ãã‚‹ã¨ã“ã‚を制御ã—ã¾ã™ã€‚ã‚ãªãŸã¯ç¾åœ¨ã®ã‚¢ã‚¯ãƒ†ã‚£ãƒ“ティã«ã‚ˆã£ã¦ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ä½œæ¥ã‚’ã—ã¦ã„ã‚‹ã¨ãã«ã“れを変更ã™ã‚‹å¿…è¦ãŒã‚ã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。左ã®ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã«ã¯ï¼š"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
+msgstr ""
+"<guimenu>snap mode</guimenu> "
+"メニューã¯ã‚¿ã‚¤ãƒ ラインã¨æ™‚計ã®é–“ã«ã‚ã‚Šã¾ã™ã€‚ã“ã®ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã¯ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒç§»å‹•ã§ãã‚‹ã¨ã“ã‚を制御ã—ã¾ã™ã€‚ã‚ãªãŸã¯ç¾åœ¨ã®ã‚¢ã‚¯ãƒ†ã‚£ãƒ“ティã«ã‚ˆã£ã¦ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ä½œæ¥ã‚’ã—ã¦ã„ã‚‹ã¨ãã«ã“れを変更ã™ã‚‹å¿…è¦ãŒã‚ã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。左ã®ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã«ã¯ï¼š"
#. Tag: para
#, no-c-format
@@ -291,38 +427,60 @@ msgstr "<guimenuitem>No Grid</guimenuitem>: リージョンã¯è‡ªç”±ã«ã©ã“ã¸
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr "<guimenuitem>Grid</guimenuitem>: リージョンã¯ç›´è¿‘ã®ã‚°ãƒªãƒƒãƒ‰ç‚¹ã‹ã‚‰é–‹å§‹ã—ãªã„ã¨ã„ã‘ã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
-msgstr "<guimenuitem>Magnetic</guimenuitem> リージョンã¯è‡ªç”±ã«å‹•ã‘ã¾ã™ãŒã€ã‚°ãƒªãƒƒãƒ‰ç‚¹ã®è¿‘ãã«æ¥ã‚‹ã¨ã€ãã‚Œã«è‡ªå‹•çš„ã«ãã£ã¤ãã¾ã™ã€‚"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
+msgstr ""
+"<guimenuitem>Magnetic</guimenuitem> "
+"リージョンã¯è‡ªç”±ã«å‹•ã‘ã¾ã™ãŒã€ã‚°ãƒªãƒƒãƒ‰ç‚¹ã®è¿‘ãã«æ¥ã‚‹ã¨ã€ãã‚Œã«è‡ªå‹•çš„ã«ãã£ã¤ãã¾ã™ã€‚"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
-msgstr "ä¸é–“ã®ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã¯ã‚°ãƒªãƒƒãƒ‰ç·šã‚’ã©ã“ã«ç½®ãã‹ã‚’制御ã—ã¾ã™ã€‚タイムコードã€æ™‚計ã®æ™‚刻ã€å°ç¯€ã¨æ‹ã€ã‚ã‚‹ã„ã¯ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã”ã¨ã«ç½®ãã€ã®ã„ãšã‚Œã‹ã§ã™ã€‚"
+#, no-c-format
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
+msgstr ""
#. Tag: title
-#, fuzzy, no-c-format
+#, no-c-format
msgid "The Ardour nudge pane"
-msgstr "Ardour インタフェース"
+msgstr ""
#. Tag: para
-#, fuzzy, no-c-format
+#, no-c-format
msgid "The Ardour nudge pane."
-msgstr "Ardour エディタミã‚サーパãƒãƒ«"
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
-#, fuzzy, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
-msgstr "タイムライン（ãã“ã«ã¯å¤šãã®ã€ç•°ãªã‚‹æ™‚刻をマークã™ã‚‹ç›®ç››ã‚Šã‚’示㙠<firstterm> ルーラー </firstterm> ãŒã‚ã‚Šã¾ã™ï¼‰ã¯ã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®æœ€ä¸Šä½ã€ãƒ„ールãƒãƒ¼ã®ä¸‹ã«ã‚ã‚Šã¾ã™ã€‚å³ã‚¯ãƒªãƒƒã‚¯ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‚’使ã£ã¦ã€è¡¨ç¤ºã—ãŸã„ルーラーをé¸ã³ã¾ã™ã€‚使ã†ãƒ«ãƒ¼ãƒ©ãƒ¼ã¯ã€æ™‚計ã®è¨å®šã¨ã‚¹ãƒŠãƒƒãƒ—モードã«ä¾å˜ã—ã¾ã™ã€‚"
+#, no-c-format
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
+msgstr ""
#. Tag: title
#, no-c-format
@@ -331,7 +489,9 @@ msgstr "オーディオソースを <application>Ardour</application> ã«ã¤ãª
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr "ãã“ã«éŒ²éŸ³ã—ãŸã„トラックã®åå‰ã¯ã€<systemitem>JACK</systemitem> ã§ã®å…¥åŠ›ã®åå‰ã¨åŒã˜ã§ã‚ã‚‹ã¹ãã§ã™ã€‚"
#. Tag: title
@@ -341,8 +501,16 @@ msgstr "ãƒã‚¹ã¨ãƒˆãƒ©ãƒƒã‚¯ã‚’è¨å®šã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
-msgstr "ãƒã‚¹ã®ä¸€èˆ¬çš„ãªèª¬æ˜Žã¯ <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> ã‚’å‚照下ã•ã„。デフォルトã§ã¯ <application>Ardour</application> ã®å‡ºåŠ›ã¯ã™ã¹ã¦ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«è¡Œãã¾ã™ã€‚ãƒã‚¹ã¯ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’å«ã¿ã¾ã›ã‚“ãŒã€ã¨ã‚Šã¾ã¨ã‚ã®ãŸã‚ã®é ˜åŸŸã¨ã—ã¦ã¯ãŸã‚‰ãã€ãれを使ã£ã¦ã‚ãªãŸã¯ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆå…¨ä½“ã‚’ã‚るフィルタã«ã‹ã‘ãŸã‚Šã€ãƒœãƒªãƒ¥ãƒ¼ãƒ 調整をã—ãŸã‚Šã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
+msgstr ""
+"ãƒã‚¹ã®ä¸€èˆ¬çš„ãªèª¬æ˜Žã¯ <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> "
+"ã‚’å‚照下ã•ã„。デフォルトã§ã¯ <application>Ardour</application> "
+"ã®å‡ºåŠ›ã¯ã™ã¹ã¦ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«è¡Œãã¾ã™ã€‚ãƒã‚¹ã¯ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’å«ã¿ã¾ã›ã‚“ãŒã€ã¨ã‚Šã¾ã¨ã‚ã®ãŸã‚ã®é ˜åŸŸã¨ã—ã¦ã¯ãŸã‚‰ãã€ãれを使ã£ã¦ã‚ãªãŸã¯ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆå…¨ä½“ã‚’ã‚るフィルタã«ã‹ã‘ãŸã‚Šã€ãƒœãƒªãƒ¥ãƒ¼ãƒ 調整をã—ãŸã‚Šã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -351,8 +519,12 @@ msgstr "録音ã®ãŸã‚ã«ãƒˆãƒ©ãƒƒã‚¯ã‚’è¿½åŠ ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
-msgstr "<menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice> ã‚’é¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
+msgstr ""
+"<menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice> ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -366,7 +538,9 @@ msgstr "番å·ã‚’è¨å®šã—ã¾ã™ã€‚（ãŸã¶ã‚“ <literal>1</literal> ã§ã—ょ
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr "入力ãƒãƒ£ãƒãƒ«æ•°ã‚’é¸æŠžã—ã¾ã™ã€‚（ãŸã¶ã‚“ <literal>Stereo</literal> ã¤ã¾ã‚Šï¼’ã§ã—ょã†ï¼‰"
#. Tag: para
@@ -376,12 +550,15 @@ msgstr "モードをé¸æŠžã—ã¾ã™ï¼š"
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr "<literal>Normal</literal>: ãã‚Œãžã‚Œã®éŒ²éŸ³ãƒ†ã‚¤ã‚¯ã”ã¨ã«æ–°ã—ã„リージョンを作りã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr "<literal>Tape</literal>: 何ã‹ãŒæ—¢ã«éŒ²éŸ³ã•ã‚Œã¦ã„ã¦ã‚‚ãã®ä¸Šã«ã€ç ´å£Šçš„ã«éŒ²éŸ³ã—ã¾ã™ã€‚（テープã®ã‚ˆã†ã«ï¼‰"
#. Tag: para
@@ -396,7 +573,8 @@ msgstr "見分ã‘ãŒã¤ãよã†ã«ã€ãƒˆãƒ©ãƒƒã‚¯ã®åå‰ã‚’変ãˆã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr "トラックエリアã®ä¸€ç•ªå·¦ã®ã€ä»Šã‚るトラックåラベルをクリックã—ã¾ã™ã€‚"
#. Tag: para
@@ -416,23 +594,47 @@ msgstr "録音レベル（ボリューム）を調整ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr "録音ã®å‰ã«ã€å…¥åŠ›ãƒ¬ãƒ™ãƒ«ã‚’æ£ã—ãè¨å®šã™ã‚‹ã“ã¨ã¯é‡è¦ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
-msgstr "オーディオ機器ã®æ€§è³ªã¨ã—ã¦ã€ãã‚Œã¯é™ã‚‰ã‚ŒãŸç¯„囲ã®éŸ³ã®åœ§åŠ›ï¼ˆãƒœãƒªãƒ¥ãƒ¼ãƒ ã¨ã—ã¦è¡¨ã•ã‚Œã‚‹ï¼‰ã ã‘ã‚’å—ã‘付ã‘ã‚‹ã“ã¨ãŒã§ãã‚‹ã¨ã„ã†ã“ã¨ã§ã™ã€‚ã‚‚ã—音ãŒå°ã•ã™ãŽã‚‹ã¨ãã¯ã€èžãå–ã‚Œã¾ã›ã‚“。もã—大ãã™ãŽã‚‹ã¨ãã¯æ£ã—ãèžãå–ã‚Œã¾ã›ã‚“。ã•ã‚‰ã«ã€ã‚ãªãŸã®è‡ªåˆ†ã®è€³ã®ãŸã‚ã«æœ€ã‚‚大切ãªã“ã¨ã§ã™ãŒã€ã‚‚ã—音ãŒã¨ã¦ã‚‚大ãã™ãŽã‚‹ã¨ãã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæ©Ÿå™¨ã‚’永久ã«å£Šã—ã¦ã—ã¾ã†ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
+msgstr ""
+"オーディオ機器ã®æ€§è³ªã¨ã—ã¦ã€ãã‚Œã¯é™ã‚‰ã‚ŒãŸç¯„囲ã®éŸ³ã®åœ§åŠ›ï¼ˆãƒœãƒªãƒ¥ãƒ¼ãƒ ã¨ã—ã¦è¡¨ã•ã‚Œã‚‹ï¼‰ã ã‘ã‚’å—ã‘付ã‘ã‚‹ã“ã¨ãŒã§ãã‚‹ã¨ã„ã†ã“ã¨ã§ã™ã€‚ã‚‚ã—音ãŒå°ã•ã™ãŽã‚‹ã¨ãã¯ã€èžãå–ã‚Œã¾ã›ã‚“。もã—大ãã™ãŽã‚‹ã¨ãã¯æ£ã—ãèžãå–ã‚Œã¾ã›ã‚“。ã•ã‚‰ã«ã€ã‚ãªãŸã®è‡ªåˆ†ã®è€³ã®ãŸã‚ã«æœ€ã‚‚大切ãªã“ã¨ã§ã™ãŒã€ã‚‚ã—音ãŒã¨ã¦ã‚‚大ãã™ãŽã‚‹ã¨ãã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæ©Ÿå™¨ã‚’永久ã«å£Šã—ã¦ã—ã¾ã†ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
-msgstr "デジタルオーディオã®æ€§è³ªã¨ã—ã¦ã€ä½•ã‹ãŒéŒ²éŸ³ã§ãるボリュームレベルã¯ãã¡ã‚“ã¨æ±ºã¾ã£ã¦ã„ã‚‹ã¨ã„ã†ã“ã¨ã§ã™ã€‚音ãŒãã®ç¯„囲ã®ä¸‹ã ã£ãŸã‚Šä¸Šã ã£ãŸã‚Šã—ãŸã¨ãã«ã¯ã€æ£ã—ã録音ã•ã‚Œã¾ã›ã‚“。ãã®ã‚ˆã†ãªã€ä¸é©å½“ã«éŒ²éŸ³ã•ã‚ŒãŸéŸ³ã‚’å†ç”Ÿã—ãŸã¨ãã€å°ã•ã™ãŽã‚‹ã¨ãも大ãã™ãŽã‚‹ã¨ãã‚‚ã€äººã¯æ™®é€šãれを \"ãŸã ã®ãƒŽã‚¤ã‚º \"ã¨ã—ã¦çŸ¥è¦šã—ã¾ã™ã€‚"
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
+msgstr ""
+"デジタルオーディオã®æ€§è³ªã¨ã—ã¦ã€ä½•ã‹ãŒéŒ²éŸ³ã§ãるボリュームレベルã¯ãã¡ã‚“ã¨æ±ºã¾ã£ã¦ã„ã‚‹ã¨ã„ã†ã“ã¨ã§ã™ã€‚音ãŒãã®ç¯„囲ã®ä¸‹ã ã£ãŸã‚Šä¸Šã ã£ãŸã‚Šã—ãŸã¨ãã«ã¯ã€æ£ã—ã録音ã•ã‚Œã¾ã›ã‚“。ãã®ã‚ˆã†ãªã€ä¸é©å½“ã«éŒ²éŸ³ã•ã‚ŒãŸéŸ³ã‚’å†ç”Ÿã—ãŸã¨ãã€å°ã•ã™ãŽã‚‹ã¨ãも大ãã™ãŽã‚‹ã¨ãã‚‚ã€äººã¯æ™®é€šãれを"
+" \"ãŸã ã®ãƒŽã‚¤ã‚º \"ã¨ã—ã¦çŸ¥è¦šã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
-msgstr "<application>Ardour</application> ãŒé™å¯‚を録音ã™ã‚‹ã¨ã€ãã‚Œã¯ã€å…¥åŠ›ãŒä½•ã‚‚ãªã„ã¨ãã¨åŒã˜ã«ãµã‚‹ã¾ã„ã¾ã™ã€‚<application>Ardour</application> ãŒã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®éƒ¨åˆ†ãŒå¤§ãã™ãŽã‚‹ãŸã‚ã«ã²ãšã‚“ã§ã„ã‚‹ã¨è¨ˆç®—ã—ãŸã¨ãã¯ã€<xref linkend=\"ardour_red_peaks\" /> ã§ç¤ºã™ã‚ˆã†ã«ã€æ³¢å½¢ã‚’赤色ã§ãµã¡ã©ã‚Šã¾ã™ã€‚"
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgstr ""
+"<application>Ardour</application> "
+"ãŒé™å¯‚を録音ã™ã‚‹ã¨ã€ãã‚Œã¯ã€å…¥åŠ›ãŒä½•ã‚‚ãªã„ã¨ãã¨åŒã˜ã«ãµã‚‹ã¾ã„ã¾ã™ã€‚<application>Ardour</application> "
+"ãŒã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®éƒ¨åˆ†ãŒå¤§ãã™ãŽã‚‹ãŸã‚ã«ã²ãšã‚“ã§ã„ã‚‹ã¨è¨ˆç®—ã—ãŸã¨ãã¯ã€<xref linkend=\"ardour_red_peaks\" /> "
+"ã§ç¤ºã™ã‚ˆã†ã«ã€æ³¢å½¢ã‚’赤色ã§ãµã¡ã©ã‚Šã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -446,7 +648,9 @@ msgstr "Ardour ã®æ³¢å½¢ã€‚オーディオãŒå¤§ãã™ãŽã‚‹ã¨ãã€èµ¤ã„ピ
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr "オーディオ信å·ã®å…¥åŠ›ãƒ¬ãƒ™ãƒ«ã‚’変更ã™ã‚‹ã«ã¯ã€ï¼“ã¤ã®å˜ç´”ã®ã‚„ã‚Šã‹ãŸãŒã‚ã‚Šã¾ã™ï¼š"
#. Tag: para
@@ -456,12 +660,15 @@ msgstr "マイクを音æºã‹ã‚‰é›¢ã™ã€ã‚ã‚‹ã„ã¯è¿‘ã¥ã‘る。"
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr "マイクãŒã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã«ã¤ãªãŒã‚‹å‰ã«ã€ãƒŸã‚サーを通ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr "オーディオãŒéŒ²éŸ³ã•ã‚Œã‚‹å‰ã«ã€<application>Ardour</application> ã®ãƒã‚¹ã‚’通ã™ã€‚"
#. Tag: para
@@ -471,13 +678,23 @@ msgstr "ãれらã®ã‚¢ãƒ—ãƒãƒ¼ãƒã®åˆ©ç‚¹ã¨æ¬ 点ã¯ä»¥ä¸‹ã§ã™ï¼š"
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
-msgstr "マイクを動ã‹ã—ãŸã‚Šã€ãƒãƒ¼ãƒ‰ã‚¦ã‚¨ã‚¢ãƒŸã‚サーを通ã™ã“ã¨ãŒã€ç¾å®Ÿçš„ã§ãªã„ã€ä¸å¯èƒ½ã§ã‚ã‚‹ã€ã‚ã‚‹ã„ã¯ãŠå‹§ã‚ã§ããªã„状æ³ãŒã‚ã‚‹ã§ã—ょã†ã‹ã‚‰ã€ãã†ã„ã†ã¨ãã¯å…¥åŠ›ä¿¡å·ãŒéŒ²éŸ³ã•ã‚Œã‚‹å‰ã« <application>Ardour</application> ã®ãƒã‚¹ã‚’使ã£ã¦ä¿¡å·ã®ãƒœãƒªãƒ¥ãƒ¼ãƒ を変ãˆã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚"
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
+msgstr ""
+"マイクを動ã‹ã—ãŸã‚Šã€ãƒãƒ¼ãƒ‰ã‚¦ã‚¨ã‚¢ãƒŸã‚サーを通ã™ã“ã¨ãŒã€ç¾å®Ÿçš„ã§ãªã„ã€ä¸å¯èƒ½ã§ã‚ã‚‹ã€ã‚ã‚‹ã„ã¯ãŠå‹§ã‚ã§ããªã„状æ³ãŒã‚ã‚‹ã§ã—ょã†ã‹ã‚‰ã€ãã†ã„ã†ã¨ãã¯å…¥åŠ›ä¿¡å·ãŒéŒ²éŸ³ã•ã‚Œã‚‹å‰ã«"
+" <application>Ardour</application> ã®ãƒã‚¹ã‚’使ã£ã¦ä¿¡å·ã®ãƒœãƒªãƒ¥ãƒ¼ãƒ を変ãˆã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
-msgstr "<menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice> ã‚’é¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
+msgstr ""
+"<menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice> ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -486,8 +703,12 @@ msgstr "ãƒãƒƒãƒ—アップã—ãŸã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã§ã€\"busses\"ã‚’é¸æŠžã—ã¾
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
-msgstr "è¿½åŠ ã—ãŸã„ãƒã‚¹ã®æ•°ã‚’é¸æŠžã—ã¾ã™ã€‚録音ä¸ã«ãƒœãƒªãƒ¥ãƒ¼ãƒ を調整ã—ãŸã„トラックã«ï¼‘ã¤ã¥ã¤ã€ãƒã‚¹ãŒå¿…è¦ã§ã™ã€‚ç•°ãªã‚‹ã„ãã¤ã‹ã®ãƒœãƒªãƒ¥ãƒ¼ãƒ ã§éŒ²éŸ³ã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚"
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
+msgstr ""
+"è¿½åŠ ã—ãŸã„ãƒã‚¹ã®æ•°ã‚’é¸æŠžã—ã¾ã™ã€‚録音ä¸ã«ãƒœãƒªãƒ¥ãƒ¼ãƒ を調整ã—ãŸã„トラックã«ï¼‘ã¤ã¥ã¤ã€ãƒã‚¹ãŒå¿…è¦ã§ã™ã€‚ç•°ãªã‚‹ã„ãã¤ã‹ã®ãƒœãƒªãƒ¥ãƒ¼ãƒ ã§éŒ²éŸ³ã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -496,27 +717,47 @@ msgstr "ãƒã‚¹ã§å¿…è¦ãªãƒãƒ£ãƒãƒ«ã®æ•°ã‚’入れã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
-msgstr "æ–°ã—ã„ãƒã‚¹ãŒã§ããŸã‚‰ã€ãã®åå‰ã‚’変ãˆã¾ã™ã€‚ãƒã‚¹ã‚’ã€å‡ºåŠ›ã®ãŸã‚ã§ãªãã¦éŒ²éŸ³ã®ãŸã‚ã«ä½¿ã£ã¦ã„ã‚‹ã“ã¨ãŒã‚ã‹ã‚‹ã€\"REC-Bus\"ã®ã‚ˆã†ãªåå‰ã‚’ã¤ã‘ã‚‹ã“ã¨ã‚’ãŠå‹§ã‚ã—ã¾ã™ã€‚"
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
+msgstr ""
+"æ–°ã—ã„ãƒã‚¹ãŒã§ããŸã‚‰ã€ãã®åå‰ã‚’変ãˆã¾ã™ã€‚ãƒã‚¹ã‚’ã€å‡ºåŠ›ã®ãŸã‚ã§ãªãã¦éŒ²éŸ³ã®ãŸã‚ã«ä½¿ã£ã¦ã„ã‚‹ã“ã¨ãŒã‚ã‹ã‚‹ã€\"REC-"
+"Bus\"ã®ã‚ˆã†ãªåå‰ã‚’ã¤ã‘ã‚‹ã“ã¨ã‚’ãŠå‹§ã‚ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
-msgstr "<application>Ardour</application> ã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãŒå‡ºåŠ›ã•ã‚Œã‚‹ã¨ãã€ä½¿ã‚れる自動的ã«ãƒã‚¹ã‚’è¨å®šã—ã¾ã™ã€‚ã•ã‚‰ã«ã€ãƒœãƒªãƒ¥ãƒ¼ãƒ ï¼ãƒ¬ãƒ™ãƒ«ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã‹ã‚‰å‡ºåŠ›ã•ã‚Œã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã«å¯¾ã—ã¦ã—ã‹ã¯ãŸã‚‰ãã¾ã›ã‚“。ã“ã‚ŒãŒã€ã‚ãªãŸãŒãƒˆãƒ©ãƒƒã‚¯ã®å…¥åŠ›ãƒœãƒªãƒ¥ãƒ¼ãƒ を調整ã™ã‚‹ã®ã«ãƒˆãƒ©ãƒƒã‚¯ã®ãƒœãƒªãƒ¥ãƒ¼ãƒ ï¼ãƒ¬ãƒ™ãƒ«ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã‚’使ãˆãªã„ç†ç”±ã§ã™ã€‚"
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
+msgstr ""
+"<application>Ardour</application> "
+"ã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãŒå‡ºåŠ›ã•ã‚Œã‚‹ã¨ãã€ä½¿ã‚れる自動的ã«ãƒã‚¹ã‚’è¨å®šã—ã¾ã™ã€‚ã•ã‚‰ã«ã€ãƒœãƒªãƒ¥ãƒ¼ãƒ ï¼ãƒ¬ãƒ™ãƒ«ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã‹ã‚‰å‡ºåŠ›ã•ã‚Œã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã«å¯¾ã—ã¦ã—ã‹ã¯ãŸã‚‰ãã¾ã›ã‚“。ã“ã‚ŒãŒã€ã‚ãªãŸãŒãƒˆãƒ©ãƒƒã‚¯ã®å…¥åŠ›ãƒœãƒªãƒ¥ãƒ¼ãƒ を調整ã™ã‚‹ã®ã«ãƒˆãƒ©ãƒƒã‚¯ã®ãƒœãƒªãƒ¥ãƒ¼ãƒ ï¼ãƒ¬ãƒ™ãƒ«ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã‚’使ãˆãªã„ç†ç”±ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
-msgstr "<application>QjackCtl</application> を使ã£ã¦ã€ã“ã®ã‚ˆã†ã«å†æŽ¥ç¶šã—ã¾ã™ã€‚（ヘルプã¯ã€<xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" /> ã‚’å‚照下ã•ã„。）："
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
+msgstr ""
+"<application>QjackCtl</application> を使ã£ã¦ã€ã“ã®ã‚ˆã†ã«å†æŽ¥ç¶šã—ã¾ã™ã€‚（ヘルプã¯ã€<xref linkend"
+"=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" /> ã‚’å‚照下ã•ã„。）："
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr "録音ã«ä½¿ã„ãŸã„ãƒã‚¹ (\"recording bus\") ã®ã™ã¹ã¦ã®å…¥å‡ºåŠ›æŽ¥ç¶šã‚’切æ–ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr "録音ã—ãŸã„トラック (\"recording track\") ã®å…¥åŠ›ã«ã¯ä½•ã‚‚接続ã•ã‚Œã¦ã„ãªã„ã“ã¨ã‚’確èªä¸‹ã•ã„。"
#. Tag: para
@@ -531,18 +772,31 @@ msgstr "入力ãƒã‚¹ã®å‡ºåŠ›ã‚’録音トラックã®å…¥åŠ›ã«ã¤ãªãŽã¾ã™ã€‚
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
-msgstr "録音トラックã®å‡ºåŠ›ãŒ \"master\"入力（ã“ã‚Œã¯ãƒžã‚¹ã‚¿ãƒ¼å‡ºåŠ›ãƒã‚¹ã§ã€ã™ã¹ã¦ã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã§å˜åœ¨ã™ã‚‹ã¯ãšã§ã™ã€‚ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªå‡ºåŠ›ã¯ãã“を通るã¯ãšã§ã™ã€‚）ã«æŽ¥ç¶šã•ã‚Œã¦ã„ã‚‹ã“ã¨ã‚’確èªä¸‹ã•ã„。"
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
+msgstr ""
+"録音トラックã®å‡ºåŠ›ãŒ "
+"\"master\"入力（ã“ã‚Œã¯ãƒžã‚¹ã‚¿ãƒ¼å‡ºåŠ›ãƒã‚¹ã§ã€ã™ã¹ã¦ã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã§å˜åœ¨ã™ã‚‹ã¯ãšã§ã™ã€‚ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªå‡ºåŠ›ã¯ãã“を通るã¯ãšã§ã™ã€‚）ã«æŽ¥ç¶šã•ã‚Œã¦ã„ã‚‹ã“ã¨ã‚’確èªä¸‹ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr "注æ„：ã“ã®ç›®çš„ã®ãŸã‚ã«ãƒã‚¹ã‚’通ã›ã‚‹ã®ã¯ã€ãŸã １ã¤ã®éŒ²éŸ³ã•ã‚Œã‚‹ãƒˆãƒ©ãƒƒã‚¯ã ã‘ã§ã™ã€‚ãƒã‚¹ã¯ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ï¼‘ã¤ã®ã‚¹ãƒˆãƒªãƒ¼ãƒ ã—ã‹å‡ºåŠ›ã§ããªã„ã‹ã‚‰ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
-msgstr "以下ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã®éŒ²éŸ³ãƒœãƒªãƒ¥ãƒ¼ãƒ ãŒæ£ã—ãè¨å®šã•ã‚Œã¦ã„ã‚‹ã‹ã‚’テストã™ã‚‹ã‚¢ãƒ«ã‚´ãƒªã‚ºãƒ ã§ã™ã€‚ã“ã‚Œã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã‚’録音準備ã™ã‚‹å‰ã«è¡Œã‚ãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。ä¸å¹¸ãªã“ã¨ã«ã€æœ€é©ã®å…¥åŠ›ãƒ¬ãƒ™ãƒ«ã‚’é¸æŠžã—ãŸã‹ã©ã†ã‹ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒéŒ²éŸ³ã•ã‚ŒãŸå¾Œã§ãªã„ã¨ã‚ã‹ã‚Šã¾ã›ã‚“。良ã„入力レベルを安定ã—ã¦é¸æŠžã§ãるよã†ã«ãªã‚‹ãŸã‚ã«ã¯æœ¬èƒ½ã¨çµŒé¨“ã®ä¸¡æ–¹ãŒå¿…è¦ã§ã™ã€‚"
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
+msgstr ""
+"以下ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã®éŒ²éŸ³ãƒœãƒªãƒ¥ãƒ¼ãƒ ãŒæ£ã—ãè¨å®šã•ã‚Œã¦ã„ã‚‹ã‹ã‚’テストã™ã‚‹ã‚¢ãƒ«ã‚´ãƒªã‚ºãƒ ã§ã™ã€‚ã“ã‚Œã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã‚’録音準備ã™ã‚‹å‰ã«è¡Œã‚ãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。ä¸å¹¸ãªã“ã¨ã«ã€æœ€é©ã®å…¥åŠ›ãƒ¬ãƒ™ãƒ«ã‚’é¸æŠžã—ãŸã‹ã©ã†ã‹ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒéŒ²éŸ³ã•ã‚ŒãŸå¾Œã§ãªã„ã¨ã‚ã‹ã‚Šã¾ã›ã‚“。良ã„入力レベルを安定ã—ã¦é¸æŠžã§ãるよã†ã«ãªã‚‹ãŸã‚ã«ã¯æœ¬èƒ½ã¨çµŒé¨“ã®ä¸¡æ–¹ãŒå¿…è¦ã§ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -561,28 +815,55 @@ msgstr "å¿…è¦ã«å¿œã˜ã¦éŒ²éŸ³ãƒã‚¹ï¼ˆå‰è¨˜ã‚’å‚照）をè¨å®šã—ã¾ã™ã€‚
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr "録音ã•ã‚Œã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒˆãƒ©ãƒƒã‚¯ã§ã€\"metering point\"ã‚’ \"input\"ã«è¨å®šã—ã¾ã™ã€‚（やり方ã¯ä»¥ä¸‹ã‚’見ã¦ãã ã•ã„。）"
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
-msgstr "æ¼”å¥è€…ã«ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã§æ¼”å¥ã™ã‚‹æœ€ã‚‚大ããªéŸ³ã®ãƒ‘ッセージをやã£ã¦ã‚‚らã„ã¾ã™ã€‚入力レベルを調整ã—ã¦ã€æœ€å¤§ãƒ¬ãƒ™ãƒ«ãŒ -3 dB ã‹ã‚‰ -6 dB ã®é–“ã«æ¥ã‚‹ã‚ˆã†ã«ã—ã¾ã™ï¼ˆã“ã“を見るã“ã¨ã§ï¼‰ã€‚maximum-level-seer をクリックã—ã¦ãƒªã‚»ãƒƒãƒˆã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
+msgstr ""
+"æ¼”å¥è€…ã«ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã§æ¼”å¥ã™ã‚‹æœ€ã‚‚大ããªéŸ³ã®ãƒ‘ッセージをやã£ã¦ã‚‚らã„ã¾ã™ã€‚入力レベルを調整ã—ã¦ã€æœ€å¤§ãƒ¬ãƒ™ãƒ«ãŒ -3 dB ã‹ã‚‰ "
+"-6 dB ã®é–“ã«æ¥ã‚‹ã‚ˆã†ã«ã—ã¾ã™ï¼ˆã“ã“を見るã“ã¨ã§ï¼‰ã€‚maximum-level-seer をクリックã—ã¦ãƒªã‚»ãƒƒãƒˆã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
-msgstr "æ¼”å¥è€…ã«ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã§æ¼”å¥ã™ã‚‹æœ€ã‚‚é™ã‹ãªãƒ‘ッセージをやã£ã¦ã‚‚らã„ã¾ã™ã€‚入力レベルを調整ã—ã¦ã€ã“れ㌠-40 dB 以下ã«ãªã‚‰ãªã„よã†ã«ã—ã¾ã™ã€‚-30 dB ã‹ã‚‰ -20 dB ã®é–“ã«ã‚ã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚"
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
+msgstr ""
+"æ¼”å¥è€…ã«ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã§æ¼”å¥ã™ã‚‹æœ€ã‚‚é™ã‹ãªãƒ‘ッセージをやã£ã¦ã‚‚らã„ã¾ã™ã€‚入力レベルを調整ã—ã¦ã€ã“れ㌠-40 dB "
+"以下ã«ãªã‚‰ãªã„よã†ã«ã—ã¾ã™ã€‚-30 dB ã‹ã‚‰ -20 dB ã®é–“ã«ã‚ã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
-msgstr "æ¼”å¥è€…ã«ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã§æ¼”å¥ã™ã‚‹å¹³å‡çš„ãªãƒ‘ッセージをやã£ã¦ã‚‚らã„ã¾ã™ã€‚ã“ã‚Œã¯ã€å‰ã®ï¼’ã¤ã®ãƒã‚§ãƒƒã‚¯ã‚ˆã‚Šã¯é‡è¦ã§ã¯ã‚ã‚Šã¾ã›ã‚“。ã—ã‹ã—ã€ã»ã¨ã‚“ã©ã®æ¼”å¥ãŒé™ã‹ã§ã‚ã‚Œã°ã€ã‚ˆã‚Šè©³ç´°ã‚’ã¨ã‚‰ãˆã‚‹ã“ã¨ãŒã§ãるよã†ã«ã€ã‚ˆã‚Šé«˜ã„入力レベルã¨ã„ã†ãƒªã‚¹ã‚¯ã‚’ãŠã‹ã™ã®ã‚‚価値ãŒã‚ã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ã„ãšã‚Œã«ã—ã¦ã‚‚ã€\"ã»ã©ã»ã©ã® \"ボリュームレベルãŒå¾—られã¦ã€å…¥åŠ›ãƒ¬ãƒ™ãƒ«ã®å€¤ã¯ -20 dB ã‹ã‚‰ -10 dB ã§ã‚ã‚‹ã¹ãã§ã™ã€‚"
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
+msgstr ""
+"æ¼”å¥è€…ã«ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã§æ¼”å¥ã™ã‚‹å¹³å‡çš„ãªãƒ‘ッセージをやã£ã¦ã‚‚らã„ã¾ã™ã€‚ã“ã‚Œã¯ã€å‰ã®ï¼’ã¤ã®ãƒã‚§ãƒƒã‚¯ã‚ˆã‚Šã¯é‡è¦ã§ã¯ã‚ã‚Šã¾ã›ã‚“。ã—ã‹ã—ã€ã»ã¨ã‚“ã©ã®æ¼”å¥ãŒé™ã‹ã§ã‚ã‚Œã°ã€ã‚ˆã‚Šè©³ç´°ã‚’ã¨ã‚‰ãˆã‚‹ã“ã¨ãŒã§ãるよã†ã«ã€ã‚ˆã‚Šé«˜ã„入力レベルã¨ã„ã†ãƒªã‚¹ã‚¯ã‚’ãŠã‹ã™ã®ã‚‚価値ãŒã‚ã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ã„ãšã‚Œã«ã—ã¦ã‚‚ã€\"ã»ã©ã»ã©ã®"
+" \"ボリュームレベルãŒå¾—られã¦ã€å…¥åŠ›ãƒ¬ãƒ™ãƒ«ã®å€¤ã¯ -20 dB ã‹ã‚‰ -10 dB ã§ã‚ã‚‹ã¹ãã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
-msgstr "ã‚ãªãŸãŒéŒ²éŸ³ã—よã†ã¨ã™ã‚‹ã‚°ãƒ«ãƒ¼ãƒ—ã®ç¨®é¡žã¨ã€ãれをã™ã‚‹ã®ã«ä½¿ã‚れるソフトウエアã¨æ©Ÿå™¨ã«ã¤ã„ã¦ã‚ˆã‚ŠçµŒé¨“ã‚’ã¤ã‚“ã ãªã‚‰ã°ã€æ¯Žå›žã“ã®ãƒ¬ãƒ™ãƒ«ãƒã‚§ãƒƒã‚¯ã‚’ã™ã‚‹å¿…è¦ã¯ãªã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ã—ã‹ã—ã€å¾Œæ‚”ã™ã‚‹ã‚ˆã‚Šã¯å®‰å…¨ã‚’ã‚ã–ã™ã®ã¯ã‚ˆã„ã“ã¨ã§ã€ä¸€åº¦ã€éŸ³æ¥½ã®æ™‚é–“ãŒéŽãŽåŽ»ã£ã¦ã—ã¾ã£ãŸã‚‰ãれをå†ä½œæˆã™ã‚‹ã“ã¨ãŒã§ããªã„ã®ã§ã™ã‹ã‚‰ã€‚"
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
+msgstr ""
+"ã‚ãªãŸãŒéŒ²éŸ³ã—よã†ã¨ã™ã‚‹ã‚°ãƒ«ãƒ¼ãƒ—ã®ç¨®é¡žã¨ã€ãれをã™ã‚‹ã®ã«ä½¿ã‚れるソフトウエアã¨æ©Ÿå™¨ã«ã¤ã„ã¦ã‚ˆã‚ŠçµŒé¨“ã‚’ã¤ã‚“ã ãªã‚‰ã°ã€æ¯Žå›žã“ã®ãƒ¬ãƒ™ãƒ«ãƒã‚§ãƒƒã‚¯ã‚’ã™ã‚‹å¿…è¦ã¯ãªã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ã—ã‹ã—ã€å¾Œæ‚”ã™ã‚‹ã‚ˆã‚Šã¯å®‰å…¨ã‚’ã‚ã–ã™ã®ã¯ã‚ˆã„ã“ã¨ã§ã€ä¸€åº¦ã€éŸ³æ¥½ã®æ™‚é–“ãŒéŽãŽåŽ»ã£ã¦ã—ã¾ã£ãŸã‚‰ãれをå†ä½œæˆã™ã‚‹ã“ã¨ãŒã§ããªã„ã®ã§ã™ã‹ã‚‰ã€‚"
#. Tag: title
#, no-c-format
@@ -591,8 +872,13 @@ msgstr "リージョンを録音ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
-msgstr "é †ã€…ã«ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’録音ã™ã‚‹ã¨ãã€å°‘ãªãã¨ã‚‚１ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’作æˆã™ã‚‹ã“ã¨ã«ãªã‚Šã¾ã™ã€‚ãªãŠã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã¯ã€ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§ã¯ \"audition\"出力ã«æµã‚Œã‚‹ã“ã¨ã«æ³¨æ„下ã•ã„。（ヘッドホンを使ã†ã“ã¨ã€‚）"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
+msgstr ""
+"é †ã€…ã«ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’録音ã™ã‚‹ã¨ãã€å°‘ãªãã¨ã‚‚１ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’作æˆã™ã‚‹ã“ã¨ã«ãªã‚Šã¾ã™ã€‚ãªãŠã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã¯ã€ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§ã¯ "
+"\"audition\"出力ã«æµã‚Œã‚‹ã“ã¨ã«æ³¨æ„下ã•ã„。（ヘッドホンを使ã†ã“ã¨ã€‚）"
#. Tag: para
#, no-c-format
@@ -601,7 +887,9 @@ msgstr "入力ã¨ã‚¿ã‚¤ãƒ ラインã¨ãƒˆãƒ©ãƒƒã‚¯ãŒæ£ã—ãè¨å®šã•ã‚Œã¦ã„
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr "エディタウインドウã®å·¦ã«ä½•ã‚‚ãªã„ã¨ãã¯ã€Ctrl+E を押ã™ã‹ã€'View > Show Editor Mixer'ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
@@ -611,8 +899,13 @@ msgstr "ãã“ã«éŒ²éŸ³ã—よã†ã¨ã™ã‚‹ãƒˆãƒ©ãƒƒã‚¯ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
-msgstr "メーターを \"input\"ã«ã—ã¦ã€ãã‚ŒãŒæ£ã—ãå‹•ãã€æ£ã—ã„ã‚‚ã®ã«æŽ¥ç¶šã•ã‚Œã¦ã„ã‚‹ã‹ç¢ºã‹ã‚ã¦ãã ã•ã„。（ã“ã‚Œã§ä½•ãŒèµ·ãã‚‹ã‹ã€ã‚ãªãŸã¯ä»Šã€ãªãœãれをã—ãŸã„ã®ã‹ã€è¨€ã£ã¦ã”らんãªã•ã„。）"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
+msgstr ""
+"メーターを "
+"\"input\"ã«ã—ã¦ã€ãã‚ŒãŒæ£ã—ãå‹•ãã€æ£ã—ã„ã‚‚ã®ã«æŽ¥ç¶šã•ã‚Œã¦ã„ã‚‹ã‹ç¢ºã‹ã‚ã¦ãã ã•ã„。（ã“ã‚Œã§ä½•ãŒèµ·ãã‚‹ã‹ã€ã‚ãªãŸã¯ä»Šã€ãªãœãれをã—ãŸã„ã®ã‹ã€è¨€ã£ã¦ã”らんãªã•ã„。）"
#. Tag: para
#, no-c-format
@@ -621,7 +914,9 @@ msgstr "以下㮠\"録音ボリュームを調整ã™ã‚‹ \"を見ã¦ã€ä»Šã€ã
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr "トラックを録音準備ã—ã¾ã™ï¼šå·¦ã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒŸã‚サー㧠\"Record\"を押ã™ã‹ã€ãƒˆãƒ©ãƒƒã‚¯è‡ªèº«ã®ä¸Šã«ã‚ã‚‹å°ã•ã„赤ã„録音ボタンを押ã—ã¾ã™ã€‚"
#. Tag: para
@@ -631,7 +926,9 @@ msgstr "ボタンã¯ã€ãƒˆãƒ©ãƒƒã‚¯ãŒéŒ²éŸ³æº–å‚™ã•ã‚ŒãŸã“ã¨ã‚’示ã™ãŸã‚
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr "トランスãƒãƒ¼ãƒˆã®å¤§ãã„赤ã„録音ボタンをé¸æŠžã—ã¦ã€<application>Ardour</application> を録音準備ã—ã¾ã™ã€‚"
#. Tag: para
@@ -641,7 +938,8 @@ msgstr "トランスãƒãƒ¼ãƒˆã‚’ã€é€šå¸¸ã®ã‚„ã‚Šã‹ãŸã§é–‹å§‹ã—ã¾ã™ï¼ˆå¤§
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr "録音ãŒçµ‚ã‚ã£ãŸã‚‰ã€å¤§ãã„åœæ¢ãƒœã‚¿ãƒ³ã§ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚’æ¢ã‚ã¾ã™ã€‚"
#. Tag: para
@@ -651,18 +949,30 @@ msgstr "トランスãƒãƒ¼ãƒˆã‚’開始ã€åœæ¢ã€ã™ã‚‹ãŸã³ã«ã€æ–°ã—ã„ \"
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
-msgstr "トランスãƒãƒ¼ãƒˆã‚’æ¢ã‚ã‚‹ãŸã³ã«ã€<application>Ardour</application> ã¯ã€è‡ªåˆ†ã‚’ \"録音準備を解除 \"ã—ã¾ã™ã€‚ã—ã‹ã—ã€ã‚ãªãŸãŒé¸æŠžã—ãŸãƒˆãƒ©ãƒƒã‚¯ã¯ã™ã¹ã¦ã€éŒ²éŸ³æº–å‚™ã•ã‚ŒãŸã¾ã¾ã§ã™ã€‚"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
+msgstr ""
+"トランスãƒãƒ¼ãƒˆã‚’æ¢ã‚ã‚‹ãŸã³ã«ã€<application>Ardour</application> ã¯ã€è‡ªåˆ†ã‚’ \"録音準備を解除 "
+"\"ã—ã¾ã™ã€‚ã—ã‹ã—ã€ã‚ãªãŸãŒé¸æŠžã—ãŸãƒˆãƒ©ãƒƒã‚¯ã¯ã™ã¹ã¦ã€éŒ²éŸ³æº–å‚™ã•ã‚ŒãŸã¾ã¾ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr "リージョンを録音ã—終ã‚ã£ãŸã‚‰ã€ã‚¤ãƒ³ã‚¿ãƒ•ã‚§ãƒ¼ã‚¹ã®å³ã® \"Regions\"ã®ãƒœãƒƒã‚¯ã‚¹ã®ã‚ˆã†ãªã‚‚ã®ã‚’使ã£ã¦ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®åå‰ã‚’変ãˆã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
-msgstr "ã‚ãªãŸãŒéŒ²éŸ³ã—ãŸã°ã‹ã‚Šã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’探ã—ã¾ã™ã€‚（デフォルトã§ã¯ãã‚Œã¯ã€\"Audio 1-1\"ã®ã‚ˆã†ã«åå‰ãŒã¤ã„ã¦ã„ã¾ã™ã€‚ãã‚Œã¯ã€éŒ²éŸ³ãƒˆãƒ©ãƒƒã‚¯ã®åå‰ã¨ã€ãƒã‚¤ãƒ•ãƒ³ã€ãã—㦠\"テイク \"を示ã™æ˜‡é †ã®é€šç•ªã§ã™ã€‚）ãれをé¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
+msgstr ""
+"ã‚ãªãŸãŒéŒ²éŸ³ã—ãŸã°ã‹ã‚Šã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’探ã—ã¾ã™ã€‚（デフォルトã§ã¯ãã‚Œã¯ã€\"Audio "
+"1-1\"ã®ã‚ˆã†ã«åå‰ãŒã¤ã„ã¦ã„ã¾ã™ã€‚ãã‚Œã¯ã€éŒ²éŸ³ãƒˆãƒ©ãƒƒã‚¯ã®åå‰ã¨ã€ãƒã‚¤ãƒ•ãƒ³ã€ãã—㦠\"テイク \"を示ã™æ˜‡é †ã®é€šç•ªã§ã™ã€‚）ãれをé¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -686,8 +996,12 @@ msgstr "続ã‘ã¦éŒ²éŸ³ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
-msgstr "１ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’録音ã—ãŸå¾Œã€ã‚ãªãŸã¯ã¾ã ã»ã—ã„ã‚‚ã®ã‚’全部æŒã£ã¦ã„ãªã„ã§ã—ょã†ã€‚録音を続ã‘ã‚‹ã«ã¯å¤šãã®æ–¹æ³•ãŒã‚ã‚Šã€ä½•ãŒã¾ã 録音ã•ã‚Œã¦ã„ãªã„ã‹ã«ä¾å˜ã—ã¾ã™ã€‚"
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
+msgstr ""
+"１ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’録音ã—ãŸå¾Œã€ã‚ãªãŸã¯ã¾ã ã»ã—ã„ã‚‚ã®ã‚’全部æŒã£ã¦ã„ãªã„ã§ã—ょã†ã€‚録音を続ã‘ã‚‹ã«ã¯å¤šãã®æ–¹æ³•ãŒã‚ã‚Šã€ä½•ãŒã¾ã 録音ã•ã‚Œã¦ã„ãªã„ã‹ã«ä¾å˜ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -696,13 +1010,23 @@ msgstr "åŒã˜ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’続ã‘ã‚‹"
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
-msgstr "ã“ã®æ©Ÿèƒ½ã¯ã€ä¾‹ãˆã°ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’録音ã—ã¦ã„ã¦ã€ï¼‘ï¼åˆ†ã®ä¼‘ã¿ã‚’入れよã†ã¨ã—ãŸã¨ããªã©ã«ã€å¿…è¦ã¨ãªã‚‹ã§ã—ょã†ã€‚ã“ã‚Œã¯ã€æ—¢ã«éŒ²éŸ³ã‚’始ã‚ãŸã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’ã€ç¶šã‘ã¦éŒ²éŸ³ã™ã‚‹ã¨ã„ã†ã™ã¹ã¦ã®çŠ¶æ³ã§ä½¿ã‚ã‚Œã¾ã™ã€‚"
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
+msgstr ""
+"ã“ã®æ©Ÿèƒ½ã¯ã€ä¾‹ãˆã°ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’録音ã—ã¦ã„ã¦ã€ï¼‘ï¼åˆ†ã®ä¼‘ã¿ã‚’入れよã†ã¨ã—ãŸã¨ããªã©ã«ã€å¿…è¦ã¨ãªã‚‹ã§ã—ょã†ã€‚ã“ã‚Œã¯ã€æ—¢ã«éŒ²éŸ³ã‚’始ã‚ãŸã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’ã€ç¶šã‘ã¦éŒ²éŸ³ã™ã‚‹ã¨ã„ã†ã™ã¹ã¦ã®çŠ¶æ³ã§ä½¿ã‚ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
-msgstr "トランスãƒãƒ¼ãƒˆã‚’ã‚ãªãŸãŒæ—¢ã«éŒ²éŸ³ã—ãŸã¨ã“ã‚ã®å°‘ã—後ã‚ã«ç§»å‹•ã—ã¾ã™ã€‚ã“れを行ã†ã«ã¯ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã®ã€forward/reverse 㨠play/stop ボタンを使ã†ã‹ã€ã‚¿ã‚¤ãƒ ラインã®ä¸ã§ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚’移動ã—ãŸã„箇所を探ã—ã¦ã€ãã®ã‚ãŸã‚Šã‚’左クリックã—ã¾ã™ã€‚"
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
+msgstr ""
+"トランスãƒãƒ¼ãƒˆã‚’ã‚ãªãŸãŒæ—¢ã«éŒ²éŸ³ã—ãŸã¨ã“ã‚ã®å°‘ã—後ã‚ã«ç§»å‹•ã—ã¾ã™ã€‚ã“れを行ã†ã«ã¯ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã®ã€forward/reverse 㨠"
+"play/stop ボタンを使ã†ã‹ã€ã‚¿ã‚¤ãƒ ラインã®ä¸ã§ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚’移動ã—ãŸã„箇所を探ã—ã¦ã€ãã®ã‚ãŸã‚Šã‚’左クリックã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -731,13 +1055,47 @@ msgstr "æ—¢ã«éŒ²éŸ³ã•ã‚Œã¦ã„ã‚‹ã‚‚ã®ã«ãƒ‘ãƒ¼ãƒˆã‚’è¿½åŠ ã§éŒ²éŸ³ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
-msgstr "スタジオ録音ã§ã‚ˆã使ã‚れるテクニックã§ã¯ã€æœ¬æ¥ä¸€ç·’ã«æ¼”å¥ã•ã‚Œã‚‹ãƒ‘ートを別々ã«éŒ²éŸ³ã—ã¦ã€å¾Œã§ä¸€ç·’ã«èžã“ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã¨ã„ã†ã‚‚ã®ã§ã™ã€‚（以下ã®ã€\"セッションを準備ã™ã‚‹ \"ã‚’å‚照下ã•ã„。）例ãˆã°ã€ï¼‘人ã®ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆæ¼”å¥è€…ãŒã€ï¼’ã¤ã®ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã®ãŸã‚ã«æ›¸ã‹ã‚ŒãŸæ›²ã®ä¸¡æ–¹ã®ã‚½ãƒãƒ‘ートを録音ã—ãŸã„ã¨ã—ã¾ã™ã€‚オーケストラをスタジオã«æŒã£ã¦ãã¦ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã®ã‚½ãƒã‚’除ã„ãŸå®Œå…¨ãªæ›²ã‚’æ¼”å¥ã™ã‚‹ã¨ã—ã¾ã—ょã†ã€‚<application>Ardour</application> ã¯ãれをã€ï¼‘ã¤ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã—ã¾ã™ã€‚ãã—ã¦ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã‚½ãƒªã‚¹ãƒˆãŒã‚¹ã‚¿ã‚¸ã‚ªã«è¡Œã£ã¦ã€<application>Ardour</application> を使ã£ã¦ã€ä»¥å‰ã«éŒ²éŸ³ã•ã‚ŒãŸã‚ªãƒ¼ã‚±ã‚¹ãƒˆãƒ©ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’èžããªãŒã‚‰åŒæ™‚ã«ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã®ã‚½ãƒãƒ‘ートã®ï¼‘ã¤ã‚’æ¼”å¥ã—ã€ãã‚Œã¯åˆ¥ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã•ã‚Œã
¾ã™ã€‚翌日ã€å¥è€…ã¯ã‚¹ã‚¿ã‚¸ã‚ªã«æˆ»ã£ã¦ã€<application>Ardour</application> を使ã£ã¦ã€ä»¥å‰ã«éŒ²éŸ³ã•ã‚ŒãŸã‚ªãƒ¼ã‚±ã‚¹ãƒˆãƒ©ã®ãƒˆãƒ©ãƒƒã‚¯ã¨ã€ä»¥å‰ã«éŒ²éŸ³ã•ã‚ŒãŸãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã‚½ãƒã®ãƒ‘ートをèžããªãŒã‚‰åŒæ™‚ã«ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã®ã‚‚ã†ã²ã¨ã¤ã®ã‚½ãƒãƒ‘ートを演å¥ã—ã€ãã‚Œã¯ï¼“ã¤ã‚ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã•ã‚Œã¾ã™ã€‚録音技術者㯠Audacity ã®ãƒŸã‚シングã¨ç·¨é›†ã®æ©Ÿèƒ½ã‚’使ã£ã¦ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆæ¼”å¥è€…ãŒã€ã‚ªãƒ¼ã‚±ã‚¹ãƒˆãƒ©ã¨ä¸€ç·’ã«ã€ä¸¡æ–¹ã®ã‚½ãƒãƒ‘ートを演å¥ã—ãŸã‚ˆã†ã«èžã“ãˆã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
+msgstr ""
+"スタジオ録音ã§ã‚ˆã使ã‚れるテクニックã§ã¯ã€æœ¬æ¥ä¸€ç·’ã«æ¼”å¥ã•ã‚Œã‚‹ãƒ‘ートを別々ã«éŒ²éŸ³ã—ã¦ã€å¾Œã§ä¸€ç·’ã«èžã“ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã¨ã„ã†ã‚‚ã®ã§ã™ã€‚（以下ã®ã€\"セッションを準備ã™ã‚‹"
+" "
+"\"ã‚’å‚照下ã•ã„。）例ãˆã°ã€ï¼‘人ã®ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆæ¼”å¥è€…ãŒã€ï¼’ã¤ã®ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã®ãŸã‚ã«æ›¸ã‹ã‚ŒãŸæ›²ã®ä¸¡æ–¹ã®ã‚½ãƒãƒ‘ートを録音ã—ãŸã„ã¨ã—ã¾ã™ã€‚オーケストラをスタジオã«æŒã£ã¦ãã¦ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã®ã‚½ãƒã‚’除ã„ãŸå®Œå…¨ãªæ›²ã‚’æ¼”å¥ã™ã‚‹ã¨ã—ã¾ã—ょã†ã€‚<application>Ardour</application>"
+" "
+"ã¯ãれをã€ï¼‘ã¤ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã—ã¾ã™ã€‚ãã—ã¦ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã‚½ãƒªã‚¹ãƒˆãŒã‚¹ã‚¿ã‚¸ã‚ªã«è¡Œã£ã¦ã€<application>Ardour</application>"
+" "
+"を使ã£ã¦ã€ä»¥å‰ã«éŒ²éŸ³ã•ã‚ŒãŸã‚ªãƒ¼ã‚±ã‚¹ãƒˆãƒ©ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’èžããªãŒã‚‰åŒæ™‚ã«ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã®ã‚½ãƒãƒ‘ートã®ï¼‘ã¤ã‚’æ¼”å¥ã—ã€ãã‚Œã¯åˆ¥ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã•ã‚Œã¾ã™ã€‚翌日ã€å¥è€…ã¯ã‚¹ã‚¿ã‚¸ã‚ªã«æˆ»ã£ã¦ã€<application>Ardour</application>"
+" "
+"を使ã£ã¦ã€ä»¥å‰ã«éŒ²éŸ³ã•ã‚ŒãŸã‚ªãƒ¼ã‚±ã‚¹ãƒˆãƒ©ã®ãƒˆãƒ©ãƒƒã‚¯ã¨ã€ä»¥å‰ã«éŒ²éŸ³ã•ã‚ŒãŸãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã‚½ãƒã®ãƒ‘ートをèžããªãŒã‚‰åŒæ™‚ã«ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆã®ã‚‚ã†ã²ã¨ã¤ã®ã‚½ãƒãƒ‘ートを演å¥ã—ã€ãã‚Œã¯ï¼“ã¤ã‚ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã•ã‚Œã¾ã™ã€‚録音技術者ã¯"
+" Audacity ã®ãƒŸã‚シングã¨ç·¨é›†ã®æ©Ÿèƒ½ã‚’使ã£ã¦ã€ãƒˆãƒ©ãƒ³ãƒšãƒƒãƒˆæ¼”å¥è€…ãŒã€ã‚ªãƒ¼ã‚±ã‚¹ãƒˆãƒ©ã¨ä¸€ç·’ã«ã€ä¸¡æ–¹ã®ã‚½ãƒãƒ‘ートを演å¥ã—ãŸã‚ˆã†ã«èžã“ãˆã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
-msgstr "別々ã«éŒ²éŸ³ã•ã‚ŒãŸãƒˆãƒ©ãƒƒã‚¯ã®é–“ã§ã€éŸ³æ¥½å®¶ãŸã¡ã®ã‚¿ã‚¤ãƒŸãƒ³ã‚°ã‚’調和ã•ã›ã‚‹ã®ã¯å›°é›£ãªã“ã¨ã§ã™ã€‚\"クリックトラック \"ã¨ã¯ã€ç›®çš„ã®ãƒ†ãƒ³ãƒã«åˆã‚ã›ãŸä¸€å®šã®ã‚¯ãƒªãƒƒã‚¯ãƒŽã‚¤ã‚ºãŒå…¥ã£ã¦ã„るトラックã§ã™ã€‚録音をã™ã‚‹éŸ³æ¥½å®¶ã€ã‚ã‚‹ã„ã¯ä»–ã®äººã‚’リードã™ã‚‹éŸ³æ¥½å®¶ã¯ã€ãƒ˜ãƒƒãƒ‰ãƒ›ãƒ³ã§ã€ã‚¯ãƒªãƒƒã‚¯ãƒˆãƒ©ãƒƒã‚¯ã‚’èžãã¾ã™ã€‚クリックトラックã¯ã€ãƒ•ã‚¡ã‚¤ãƒŠãƒ«ãƒŸãƒƒã‚¯ã‚¹ã«ã¯å«ã¾ã‚Œã¾ã›ã‚“。"
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
+msgstr ""
+"別々ã«éŒ²éŸ³ã•ã‚ŒãŸãƒˆãƒ©ãƒƒã‚¯ã®é–“ã§ã€éŸ³æ¥½å®¶ãŸã¡ã®ã‚¿ã‚¤ãƒŸãƒ³ã‚°ã‚’調和ã•ã›ã‚‹ã®ã¯å›°é›£ãªã“ã¨ã§ã™ã€‚\"クリックトラック "
+"\"ã¨ã¯ã€ç›®çš„ã®ãƒ†ãƒ³ãƒã«åˆã‚ã›ãŸä¸€å®šã®ã‚¯ãƒªãƒƒã‚¯ãƒŽã‚¤ã‚ºãŒå…¥ã£ã¦ã„るトラックã§ã™ã€‚録音をã™ã‚‹éŸ³æ¥½å®¶ã€ã‚ã‚‹ã„ã¯ä»–ã®äººã‚’リードã™ã‚‹éŸ³æ¥½å®¶ã¯ã€ãƒ˜ãƒƒãƒ‰ãƒ›ãƒ³ã§ã€ã‚¯ãƒªãƒƒã‚¯ãƒˆãƒ©ãƒƒã‚¯ã‚’èžãã¾ã™ã€‚クリックトラックã¯ã€ãƒ•ã‚¡ã‚¤ãƒŠãƒ«ãƒŸãƒƒã‚¯ã‚¹ã«ã¯å«ã¾ã‚Œã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
@@ -746,8 +1104,13 @@ msgstr "ã“れをやるã«ã¯ï¼š"
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
-msgstr "最åˆã®ãƒ‘ートを録音ã—ã¾ã™ã€‚パートを録音ã™ã‚‹é †åºã¯éŒ²éŸ³æŠ€è¡“者（ã¤ã¾ã‚Šã‚ãªãŸã§ã™ï¼‰ãŒæ±ºã‚ã¾ã™ã€‚最もãŸãã•ã‚“æ¼”å¥ã™ã‚‹äººã‹ã€æœ€ã‚‚リズム的ã«ä¸€è²«ã—ãŸãƒ‘ートを演å¥ã™ã‚‹äººã‚’å…ˆã«éŒ²éŸ³ã™ã‚‹ã®ãŒãŸã¶ã‚“ã€ã‚ˆã‚Šç°¡å˜ã§ã—ょã†ã€‚"
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
+msgstr ""
+"最åˆã®ãƒ‘ートを録音ã—ã¾ã™ã€‚パートを録音ã™ã‚‹é †åºã¯éŒ²éŸ³æŠ€è¡“者（ã¤ã¾ã‚Šã‚ãªãŸã§ã™ï¼‰ãŒæ±ºã‚ã¾ã™ã€‚最もãŸãã•ã‚“æ¼”å¥ã™ã‚‹äººã‹ã€æœ€ã‚‚リズム的ã«ä¸€è²«ã—ãŸãƒ‘ートを演å¥ã™ã‚‹äººã‚’å…ˆã«éŒ²éŸ³ã™ã‚‹ã®ãŒãŸã¶ã‚“ã€ã‚ˆã‚Šç°¡å˜ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
@@ -761,23 +1124,37 @@ msgstr "æ–°ã—ã„トラックã®æŽ¥ç¶šã‚’è¨å®šã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr "æ–°ã—ã„トラックã®éŸ³ãŒå¤§ãã™ãŽãŸã‚Šå°ã•ã™ãŽãŸã‚Šã—ãªã„よã†ã«ã€ãƒ¬ãƒ™ãƒ«ãƒã‚§ãƒƒã‚¯ã‚’ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
-msgstr "æ–°ã—ã„トラックを録音ã—始ã‚るパッセージã®æœ€åˆã«ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚’ä½ç½®ã¥ã‘ã¾ã™ã€‚トラックã®é–‹å§‹ç‚¹ã‚’ãã‚Œã»ã©åŽ³å¯†ã«æ±ºã‚ã‚‹å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“。後ã‹ã‚‰å¤‰ãˆã‚‰ã‚Œã‚‹ã‹ã‚‰ã§ã™ã€‚次ã®æ¼”å¥è€…ãŒã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆãŒé–‹å§‹ã—ã¦ã‹ã‚‰ã€å½¼ã‚‰ãŒã©ã“ã‹ã‚‰ã€ã©ã‚“ãªãƒ†ãƒ³ãƒã§å…¥ã‚Œã°ã„ã„ã®ã‹ã‚ã‹ã‚‹ã‚ˆã†ã«ã€å分ã€èžãå–る時間ãŒå–れるã“ã¨ã‚’確èªä¸‹ã•ã„。"
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
+msgstr ""
+"æ–°ã—ã„トラックを録音ã—始ã‚るパッセージã®æœ€åˆã«ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚’ä½ç½®ã¥ã‘ã¾ã™ã€‚トラックã®é–‹å§‹ç‚¹ã‚’ãã‚Œã»ã©åŽ³å¯†ã«æ±ºã‚ã‚‹å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“。後ã‹ã‚‰å¤‰ãˆã‚‰ã‚Œã‚‹ã‹ã‚‰ã§ã™ã€‚次ã®æ¼”å¥è€…ãŒã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆãŒé–‹å§‹ã—ã¦ã‹ã‚‰ã€å½¼ã‚‰ãŒã©ã“ã‹ã‚‰ã€ã©ã‚“ãªãƒ†ãƒ³ãƒã§å…¥ã‚Œã°ã„ã„ã®ã‹ã‚ã‹ã‚‹ã‚ˆã†ã«ã€å分ã€èžãå–る時間ãŒå–れるã“ã¨ã‚’確èªä¸‹ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
-msgstr "æ¼”å¥è€…（ã‚ã‚‹ã„ã¯ã€æŒ‡æ®ï¼ãƒªãƒ¼ãƒ‰ã™ã‚‹äººï¼‰ãŒä»Šã¾ã§ã«éŒ²éŸ³ã•ã‚ŒãŸã‚‚ã®ã‚’è´ãã“ã¨ãŒã§ãる手段を準備ã™ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ヘッドホンを使ã†ã®ãŒã‚ˆã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。"
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
+msgstr ""
+"æ¼”å¥è€…（ã‚ã‚‹ã„ã¯ã€æŒ‡æ®ï¼ãƒªãƒ¼ãƒ‰ã™ã‚‹äººï¼‰ãŒä»Šã¾ã§ã«éŒ²éŸ³ã•ã‚ŒãŸã‚‚ã®ã‚’è´ãã“ã¨ãŒã§ãる手段を準備ã™ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ヘッドホンを使ã†ã®ãŒã‚ˆã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
-msgstr "録音ã—ãŸã„トラックを録音準備ã—ã¾ã™ã€‚æ—¢ã«éŒ²éŸ³ã•ã‚ŒãŸãƒˆãƒ©ãƒƒã‚¯ã¯ã‚‚ã¯ã‚„録音準備ã•ã‚Œã¦ã„ãªã„ã“ã¨ã‚’確èªä¸‹ã•ã„。特ã«ã€\"テープモード \"ã®ã¨ãã¯å¤§å¤‰ã§ã™ã€‚"
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
+msgstr ""
+"録音ã—ãŸã„トラックを録音準備ã—ã¾ã™ã€‚æ—¢ã«éŒ²éŸ³ã•ã‚ŒãŸãƒˆãƒ©ãƒƒã‚¯ã¯ã‚‚ã¯ã‚„録音準備ã•ã‚Œã¦ã„ãªã„ã“ã¨ã‚’確èªä¸‹ã•ã„。特ã«ã€\"テープモード \"ã®ã¨ãã¯å¤§å¤‰ã§ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -791,8 +1168,17 @@ msgstr "æ—¢ã«éŒ²éŸ³ã•ã‚ŒãŸã‚‚ã®ã®ã‚ˆã‚Šã‚ˆã„録音をã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
-msgstr "æ—¢ã«ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ã™ã¹ã¦ã‚ã‚‹ã„ã¯ã»ã¨ã‚“ã©ã‚’録音ã—終ã‚ã£ã¦ã„ã¦ã‚‚ã€ãªã‚“らã‹ã®å•é¡Œã‚’ \"解決 \"ã™ã‚‹ãŸã‚ã«ã‚»ãƒƒã‚·ãƒ§ãƒ³ã® * 部分 * ã‚’å†éŒ²éŸ³ã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚<application>Ardour</application> ã§ã¯ã€æœ€åˆã®ãƒ†ã‚¤ã‚¯ã‚’ã“ã‚ã•ãšã«ã€ä»Šã‚るトラックã®ä¸Šã«éŒ²éŸ³ã—ã¦ã€æ–°ã—ã録音ã—ãŸãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ãã®ä¸Šã«ã‹ã¶ã›ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚後ã§ã€éŒ²éŸ³ã®å‡ºåŠ›ãŒã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ï¼ãƒ†ã‚¤ã‚¯ã®é–“ã§åˆ‡ã‚Šæ›¿ã‚ã‚‹æ£ç¢ºãªãƒã‚¤ãƒ³ãƒˆã‚’決ã‚ã‚Œã°è‰¯ã„ã®ã§ã™ã€‚"
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
+msgstr ""
+"æ—¢ã«ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ã™ã¹ã¦ã‚ã‚‹ã„ã¯ã»ã¨ã‚“ã©ã‚’録音ã—終ã‚ã£ã¦ã„ã¦ã‚‚ã€ãªã‚“らã‹ã®å•é¡Œã‚’ \"解決 \"ã™ã‚‹ãŸã‚ã«ã‚»ãƒƒã‚·ãƒ§ãƒ³ã® * 部分 * "
+"ã‚’å†éŒ²éŸ³ã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚<application>Ardour</application> "
+"ã§ã¯ã€æœ€åˆã®ãƒ†ã‚¤ã‚¯ã‚’ã“ã‚ã•ãšã«ã€ä»Šã‚るトラックã®ä¸Šã«éŒ²éŸ³ã—ã¦ã€æ–°ã—ã録音ã—ãŸãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ãã®ä¸Šã«ã‹ã¶ã›ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚後ã§ã€éŒ²éŸ³ã®å‡ºåŠ›ãŒã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ï¼ãƒ†ã‚¤ã‚¯ã®é–“ã§åˆ‡ã‚Šæ›¿ã‚ã‚‹æ£ç¢ºãªãƒã‚¤ãƒ³ãƒˆã‚’決ã‚ã‚Œã°è‰¯ã„ã®ã§ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -801,13 +1187,22 @@ msgstr "セッションを録音ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr "ã„ã¾éŒ²éŸ³ã—よã†ã¨ã™ã‚‹ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®æŽ¥ç¶šã¨ãƒ¬ãƒ™ãƒ«ãŒã€æœ€åˆã«éŒ²éŸ³ã—ãŸã‚‚ã®ã¨åŒã˜ã§ã‚ã‚‹ã“ã¨ã‚’確èªä¸‹ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
-msgstr "トランスãƒãƒ¼ãƒˆã®ä½ç½®ã‚’決ã‚ã¾ã™ã€‚入れ替ãˆãŸã„セグメントã®å‰ã®å ´æ‰€ã‚’é¸ã³ã¾ã™ã€‚æ¼”å¥è€…ã¯å…¥ã‚Œæ›¿ãˆã‚‹ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã®å‰ã‹ã‚‰æ¼”å¥ã‚’開始ã™ã‚‹å¿…è¦ãŒã‚ã‚‹ã§ã—ょã†ã€‚彼らãŒãƒ†ãƒ³ãƒã‚’ã¤ã‹ã‚“ã§ã€ã‚°ãƒ«ãƒ¼ãƒ–ã‚’å¾—ã¦ã€ãã—ã¦å…¥ã‚Œæ›¿ãˆãŒå¿…è¦ãªéƒ¨åˆ†ã® * ãšã£ã¨å‰ã‹ã‚‰ * æ¼”å¥ã‚’開始ã§ãるよã†ã«ã€ã‚ãªãŸã¯å分ã«é–“隔をã¨ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
+msgstr ""
+"トランスãƒãƒ¼ãƒˆã®ä½ç½®ã‚’決ã‚ã¾ã™ã€‚入れ替ãˆãŸã„セグメントã®å‰ã®å ´æ‰€ã‚’é¸ã³ã¾ã™ã€‚æ¼”å¥è€…ã¯å…¥ã‚Œæ›¿ãˆã‚‹ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã®å‰ã‹ã‚‰æ¼”å¥ã‚’開始ã™ã‚‹å¿…è¦ãŒã‚ã‚‹ã§ã—ょã†ã€‚彼らãŒãƒ†ãƒ³ãƒã‚’ã¤ã‹ã‚“ã§ã€ã‚°ãƒ«ãƒ¼ãƒ–ã‚’å¾—ã¦ã€ãã—ã¦å…¥ã‚Œæ›¿ãˆãŒå¿…è¦ãªéƒ¨åˆ†ã®"
+" * ãšã£ã¨å‰ã‹ã‚‰ * æ¼”å¥ã‚’開始ã§ãるよã†ã«ã€ã‚ãªãŸã¯å分ã«é–“隔をã¨ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -826,7 +1221,9 @@ msgstr "トランスãƒãƒ¼ãƒˆã‚’開始ã—ã¦ã€éŸ³æ¥½ã®æ”¹è¨‚版ã®ã‚»ã‚¯ã‚·ãƒ§
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr "ã„ãšã‚Œã€å¿…è¦ãªã‚‚ã®ã®éŒ²éŸ³ãŒå…¨éƒ¨çµ‚ã‚ã£ã¦ã€ãƒŸã‚シングã¨ç·¨é›†ã«é€²ã‚€ã¨ããŒæ¥ã¾ã™ã€‚"
#. Tag: title
@@ -836,68 +1233,150 @@ msgstr "オーディオã®ãƒ«ãƒ¼ãƒ†ã‚£ãƒ³ã‚°ã¨ <systemitem>JACK</systemitem>
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
-msgstr "<application>Ardour</application> ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’ä¿å˜ã™ã‚‹ã¨ãã«ã€è‡ªå‹•çš„ã« <systemitem>JACK</systemitem> 接続ã®çŠ¶æ…‹ã‚’ä¿å˜ã—ã¾ã™ã€‚"
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
+msgstr ""
+"<application>Ardour</application> ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’ä¿å˜ã™ã‚‹ã¨ãã«ã€è‡ªå‹•çš„ã« "
+"<systemitem>JACK</systemitem> 接続ã®çŠ¶æ…‹ã‚’ä¿å˜ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr "<application>Ardour</application> ã¯ã€ã‚¹ãƒ†ãƒ¬ã‚ªè¨å®šï¼ˆï¼’ãƒãƒ£ãƒ³ãƒãƒ«ï¼‰ã§ã€ä»¥ä¸‹ã®å‡ºåŠ›ãƒãƒ¼ãƒˆã‚’æä¾›ã—ã¾ã™ï¼š"
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
-msgstr "\"track_name/out 1\"㨠\"track_name/out 2\"ã¨ã„ã†åå‰ã®ï¼‘トラックã‚ãŸã‚Šï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“れらã¯ã€é€šå¸¸ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã‚ã‚‹ã„ã¯ã€ã‚µãƒ–ミã‚シングãƒã‚¹ãŒä½¿ã‚ã‚Œã¦ã„ã‚‹ã¨ãã¯ãã“ã«æŽ¥ç¶šã•ã‚Œã¾ã™ã€‚"
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
+msgstr ""
+"\"track_name/out 1\"㨠\"track_name/out "
+"2\"ã¨ã„ã†åå‰ã®ï¼‘トラックã‚ãŸã‚Šï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“れらã¯ã€é€šå¸¸ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã‚ã‚‹ã„ã¯ã€ã‚µãƒ–ミã‚シングãƒã‚¹ãŒä½¿ã‚ã‚Œã¦ã„ã‚‹ã¨ãã¯ãã“ã«æŽ¥ç¶šã•ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
-msgstr "\"bus_name/out 1\"㨠\"bus_name/out 2\"ã¨ã„ã†åå‰ã®ï¼‘ãƒã‚¹ã‚ãŸã‚Šï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“れらã¯ã€ï¼’レベルã®ã‚µãƒ–ミã‚シングãƒã‚¹ãŒä½¿ã‚ã‚Œã¦ã„ã‚‹ã¨ã以外ã¯ã€é€šå¸¸ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«æŽ¥ç¶šã•ã‚Œã¾ã™ã€‚"
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
+msgstr ""
+"\"bus_name/out 1\"㨠\"bus_name/out "
+"2\"ã¨ã„ã†åå‰ã®ï¼‘ãƒã‚¹ã‚ãŸã‚Šï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“れらã¯ã€ï¼’レベルã®ã‚µãƒ–ミã‚シングãƒã‚¹ãŒä½¿ã‚ã‚Œã¦ã„ã‚‹ã¨ã以外ã¯ã€é€šå¸¸ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«æŽ¥ç¶šã•ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
-msgstr "\"auditioner/out 1\"ã¨å‘¼ã°ã‚Œã‚‹ã€è©¦è´è€…ã®ãŸã‚ã®ï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“ã‚Œã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’試è´ã™ã‚‹ã¨ãã«ä½¿ã‚れるãƒãƒ£ãƒãƒ«ã§ã™ã€‚例ãˆã°ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’インãƒãƒ¼ãƒˆã™ã‚‹ã¨ãã€ã‚ã‚‹ã„ã¯ã€å³å´ã® \"Regions\"ボックスã§å³ã‚¯ãƒªãƒƒã‚¯ã—㦠\"Audition\"ã‚’é¸æŠžã—ãŸã¨ãã«ä½¿ã‚ã‚Œã¾ã™ã€‚ã“れらã¯ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«æŽ¥ç¶šã•ã‚Œã¦ã¯ã„ã‘ã¾ã›ã‚“。ã‚ãªãŸãŒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’試è´ã™ã‚‹ã¨ãã«ä½¿ã†å‡ºåŠ›ãƒ‡ãƒã‚¤ã‚¹ã«æŽ¥ç¶šã—ã¦ãã ã•ã„。"
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
+msgstr ""
+"\"auditioner/out "
+"1\"ã¨å‘¼ã°ã‚Œã‚‹ã€è©¦è´è€…ã®ãŸã‚ã®ï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“ã‚Œã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’試è´ã™ã‚‹ã¨ãã«ä½¿ã‚れるãƒãƒ£ãƒãƒ«ã§ã™ã€‚例ãˆã°ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’インãƒãƒ¼ãƒˆã™ã‚‹ã¨ãã€ã‚ã‚‹ã„ã¯ã€å³å´ã®"
+" \"Regions\"ボックスã§å³ã‚¯ãƒªãƒƒã‚¯ã—㦠"
+"\"Audition\"ã‚’é¸æŠžã—ãŸã¨ãã«ä½¿ã‚ã‚Œã¾ã™ã€‚ã“れらã¯ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«æŽ¥ç¶šã•ã‚Œã¦ã¯ã„ã‘ã¾ã›ã‚“。ã‚ãªãŸãŒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’試è´ã™ã‚‹ã¨ãã«ä½¿ã†å‡ºåŠ›ãƒ‡ãƒã‚¤ã‚¹ã«æŽ¥ç¶šã—ã¦ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
-msgstr "\"click/out 1\"ã¨å‘¼ã°ã‚Œã‚‹ã‚¯ãƒªãƒƒã‚¯ãƒˆãƒ©ãƒƒã‚¯ã®ãŸã‚ã®ï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚録音ã®æ™‚ã«ã‚¯ãƒªãƒƒã‚¯ãƒˆãƒ©ãƒƒã‚¯ã‚’æ¼”å¥ã™ã‚‹ã®ã«ä½¿ã‚れるãƒãƒ£ãƒãƒ«ã§ã™ã€‚ã“れらã¯ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«æŽ¥ç¶šã•ã‚Œã¦ã¯ã„ã‘ã¾ã›ã‚“。クリックトラックã«ä½¿ã†å‡ºåŠ›ãƒ‡ãƒã‚¤ã‚¹ã«æŽ¥ç¶šã—ã¦ãã ã•ã„。"
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
+msgstr ""
+"\"click/out "
+"1\"ã¨å‘¼ã°ã‚Œã‚‹ã‚¯ãƒªãƒƒã‚¯ãƒˆãƒ©ãƒƒã‚¯ã®ãŸã‚ã®ï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚録音ã®æ™‚ã«ã‚¯ãƒªãƒƒã‚¯ãƒˆãƒ©ãƒƒã‚¯ã‚’æ¼”å¥ã™ã‚‹ã®ã«ä½¿ã‚れるãƒãƒ£ãƒãƒ«ã§ã™ã€‚ã“れらã¯ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«æŽ¥ç¶šã•ã‚Œã¦ã¯ã„ã‘ã¾ã›ã‚“。クリックトラックã«ä½¿ã†å‡ºåŠ›ãƒ‡ãƒã‚¤ã‚¹ã«æŽ¥ç¶šã—ã¦ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
-msgstr "\"master/out 1\"ã¨å‘¼ã°ã‚Œã‚‹ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®ãŸã‚ã®ï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚マスター出力ãƒã‚¹ã«ã‚ˆã‚Šä½¿ã‚れる出力ã§ã™ã€‚ã“れらã¯ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆãŒå‹•ãã¨ãã«ã‚ãªãŸãŒã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’èžããŸã‚ã«ä½¿ã†å‡ºåŠ›ãƒ‡ãƒã‚¤ã‚¹ã«æŽ¥ç¶šã—ã¦ãã ã•ã„。"
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
+msgstr ""
+"\"master/out "
+"1\"ã¨å‘¼ã°ã‚Œã‚‹ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®ãŸã‚ã®ï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚マスター出力ãƒã‚¹ã«ã‚ˆã‚Šä½¿ã‚れる出力ã§ã™ã€‚ã“れらã¯ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆãŒå‹•ãã¨ãã«ã‚ãªãŸãŒã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’èžããŸã‚ã«ä½¿ã†å‡ºåŠ›ãƒ‡ãƒã‚¤ã‚¹ã«æŽ¥ç¶šã—ã¦ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr "<application>Ardour</application> ã¯ã€ã‚¹ãƒ†ãƒ¬ã‚ªè¨å®šï¼ˆï¼’ãƒãƒ£ãƒ³ãƒãƒ«ï¼‰ã§ã€ä»¥ä¸‹ã®å…¥åŠ›ãƒãƒ¼ãƒˆã‚’æä¾›ã—ã¾ã™ï¼š"
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
-msgstr "\"track_name/in 1\"㨠\"track_name/in 2\"ã¨ã„ã†åå‰ã®ï¼‘トラックã‚ãŸã‚Šï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“れらã¯ã€ã©ã¡ã‚‰ã‚‚åŒã˜å…¥åŠ›ãƒ‡ãƒã‚¤ã‚¹ã«ã¤ãªã„ã§ãã ã•ã„。録音ãƒã‚¹ã‚’使ã£ã¦ã„ã‚‹ã¨ãã¯ã€ãã®ãƒã‚¹ã«ã¤ãªã„ã§ãã ã•ã„。"
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
+msgstr ""
+"\"track_name/in 1\"㨠\"track_name/in "
+"2\"ã¨ã„ã†åå‰ã®ï¼‘トラックã‚ãŸã‚Šï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“れらã¯ã€ã©ã¡ã‚‰ã‚‚åŒã˜å…¥åŠ›ãƒ‡ãƒã‚¤ã‚¹ã«ã¤ãªã„ã§ãã ã•ã„。録音ãƒã‚¹ã‚’使ã£ã¦ã„ã‚‹ã¨ãã¯ã€ãã®ãƒã‚¹ã«ã¤ãªã„ã§ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
-msgstr "\"bus_name/in 1\"㨠\"bus_name/in 2\"ã¨ã„ã†åå‰ã®ï¼‘ãƒã‚¹ã‚ãŸã‚Šï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“れらã¯ã€ã‚ãªãŸãŒãƒŸãƒƒã‚¯ã‚¹ã—ãŸã„ãƒãƒ£ãƒãƒ«ã‚’全部ã¤ãªãŽã¾ã™ã€‚録音ãƒã‚¹ã‚’使ã£ã¦ã„ã‚‹ã¨ãã¯ã€ã“れらã¯åŒã˜å…¥åŠ›ãƒ‡ãƒã‚¤ã‚¹ã«ã¤ãªã„ã§ãã ã•ã„。"
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
+msgstr ""
+"\"bus_name/in 1\"㨠\"bus_name/in "
+"2\"ã¨ã„ã†åå‰ã®ï¼‘ãƒã‚¹ã‚ãŸã‚Šï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚ã“れらã¯ã€ã‚ãªãŸãŒãƒŸãƒƒã‚¯ã‚¹ã—ãŸã„ãƒãƒ£ãƒãƒ«ã‚’全部ã¤ãªãŽã¾ã™ã€‚録音ãƒã‚¹ã‚’使ã£ã¦ã„ã‚‹ã¨ãã¯ã€ã“れらã¯åŒã˜å…¥åŠ›ãƒ‡ãƒã‚¤ã‚¹ã«ã¤ãªã„ã§ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
-msgstr "\"master/in 1\"ã¨å‘¼ã°ã‚Œã‚‹ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®ãŸã‚ã®ï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚マスターãƒã‚¹ã«ã‚ˆã‚Šä½¿ã‚れる入力ã§ã™ã€‚ã“れらã¯ã€ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã¤ãªã„ã§ãã ã•ã„。もã—ã€ã‚µãƒ–ãƒã‚¹ãƒŸã‚シングを使ã£ã¦ã„ã‚‹ã¨ãã¯ã€ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ã¯ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®å…¥åŠ›ã«ã€ç›´æŽ¥ã‹ã€ãã†ã§ãªã‘ã‚Œã°ã‚µãƒ–ãƒã‚¹ã‚’経由ã—ã¦ã¤ãªãŒã£ã¦ã„ãªãã¦ã¯ã„ã‘ã¾ã›ã‚“。"
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
+msgstr ""
+"\"master/in "
+"1\"ã¨å‘¼ã°ã‚Œã‚‹ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®ãŸã‚ã®ï¼’ã¤ã®ãƒãƒ£ãƒãƒ«ã€‚マスターãƒã‚¹ã«ã‚ˆã‚Šä½¿ã‚れる入力ã§ã™ã€‚ã“れらã¯ã€ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã¤ãªã„ã§ãã ã•ã„。もã—ã€ã‚µãƒ–ãƒã‚¹ãƒŸã‚シングを使ã£ã¦ã„ã‚‹ã¨ãã¯ã€ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ã¯ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®å…¥åŠ›ã«ã€ç›´æŽ¥ã‹ã€ãã†ã§ãªã‘ã‚Œã°ã‚µãƒ–ãƒã‚¹ã‚’経由ã—ã¦ã¤ãªãŒã£ã¦ã„ãªãã¦ã¯ã„ã‘ã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
-msgstr "ã»ã¨ã‚“ã©ã®çŠ¶æ³ã§ã€<application>Ardour</application> ã¯ãƒãƒ£ãƒãƒ«ã®æŽ¥ç¶šã‚’自動的ã«æ£ã—ãè¨å®šã—ã¾ã™ã€‚<application>Ardour</application> ã®ä¸ã‹ã‚‰ã€æŽ¥ç¶šã‚’変ãˆã‚‹æ–¹æ³•ã¯ã‚ã‚Šã¾ã™ãŒã€ã§ãã‚‹ã“ã¨ã¯é™ã‚‰ã‚Œã¾ã™ã€‚ã“ã®ãŸã‚ã€ãƒ¦ãƒ¼ã‚¶ãŒ <application>QjackCtl</application> を使ã£ã¦æŽ¥ç¶šã‚’モニタã™ã‚‹ã“ã¨ã‚’ãŠå‹§ã‚ã—ã¾ã™ã€‚<application>QjackCtl</application> を使ãˆã°ã€<systemitem>JACK</systemitem> ã®ãã®ä»–ã®å¤šãã®æ©Ÿèƒ½ã‚‚モニタã€å¤‰æ›´ã™ã‚‹ã“ã¨ãŒã§ãã‚‹ã‹ã‚‰ã§ã™ã€‚"
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
+msgstr ""
+"ã»ã¨ã‚“ã©ã®çŠ¶æ³ã§ã€<application>Ardour</application> "
+"ã¯ãƒãƒ£ãƒãƒ«ã®æŽ¥ç¶šã‚’自動的ã«æ£ã—ãè¨å®šã—ã¾ã™ã€‚<application>Ardour</application> "
+"ã®ä¸ã‹ã‚‰ã€æŽ¥ç¶šã‚’変ãˆã‚‹æ–¹æ³•ã¯ã‚ã‚Šã¾ã™ãŒã€ã§ãã‚‹ã“ã¨ã¯é™ã‚‰ã‚Œã¾ã™ã€‚ã“ã®ãŸã‚ã€ãƒ¦ãƒ¼ã‚¶ãŒ "
+"<application>QjackCtl</application> "
+"を使ã£ã¦æŽ¥ç¶šã‚’モニタã™ã‚‹ã“ã¨ã‚’ãŠå‹§ã‚ã—ã¾ã™ã€‚<application>QjackCtl</application> "
+"を使ãˆã°ã€<systemitem>JACK</systemitem> ã®ãã®ä»–ã®å¤šãã®æ©Ÿèƒ½ã‚‚モニタã€å¤‰æ›´ã™ã‚‹ã“ã¨ãŒã§ãã‚‹ã‹ã‚‰ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
-msgstr "<application>Ardour</application> を使ã†äººãŸã¡ã«ã¨ã£ã¦ã€æ£ã—ã„接続ã®ä»•æ–¹ã‚’å¦ã¶ã“ã¨ã¯è²´é‡ãªæŠ€ã§ã™ã€‚<application>Ardour</application> ㌠<systemitem>JACK</systemitem> ã‚’ãã®å†…部ã¨å¤–部ã®æŽ¥ç¶šã®ãŸã‚ã«ä½¿ã£ã¦ã„ã‚‹ã¨ã„ã†äº‹å®Ÿã®ãŸã‚ã«ã€ä»¥ä¸‹ã®æŠ€ãŒå¯èƒ½ã§ã™ã€‚以å‰ãŠè©±ã—ã—ãŸéŒ²éŸ³ãƒã‚¹ï¼ˆéŸ³æºã®å…¥åŠ›ãƒ¬ãƒ™ãƒ«ã‚’調整ã™ã‚‹ï¼‰ã€å·¦ã¨å³ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒãƒ£ãƒãƒ«ã‚’ã²ã£ãã‚Šè¿”ã™ã€ãã—ã¦å¤šãã®å…¥åŠ›ãƒãƒ£ãƒãƒ«ã‚’ã¾ã¨ã‚ã¦ã€ãƒžãƒ«ãƒãƒãƒ£ãƒãƒ«ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªå‡ºåŠ›ã‚’作æˆã™ã‚‹ã€ãªã©ã§ã™ã€‚ä»–ã«ã‚‚技ãŒã‚ã‚‹ã“ã¨ã¯ç–‘ã†ã¹ãã‚‚ã‚ã‚Šã¾ã›ã‚“。"
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
+msgstr ""
+"<application>Ardour</application> "
+"を使ã†äººãŸã¡ã«ã¨ã£ã¦ã€æ£ã—ã„接続ã®ä»•æ–¹ã‚’å¦ã¶ã“ã¨ã¯è²´é‡ãªæŠ€ã§ã™ã€‚<application>Ardour</application> ㌠"
+"<systemitem>JACK</systemitem> "
+"ã‚’ãã®å†…部ã¨å¤–部ã®æŽ¥ç¶šã®ãŸã‚ã«ä½¿ã£ã¦ã„ã‚‹ã¨ã„ã†äº‹å®Ÿã®ãŸã‚ã«ã€ä»¥ä¸‹ã®æŠ€ãŒå¯èƒ½ã§ã™ã€‚以å‰ãŠè©±ã—ã—ãŸéŒ²éŸ³ãƒã‚¹ï¼ˆéŸ³æºã®å…¥åŠ›ãƒ¬ãƒ™ãƒ«ã‚’調整ã™ã‚‹ï¼‰ã€å·¦ã¨å³ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒãƒ£ãƒãƒ«ã‚’ã²ã£ãã‚Šè¿”ã™ã€ãã—ã¦å¤šãã®å…¥åŠ›ãƒãƒ£ãƒãƒ«ã‚’ã¾ã¨ã‚ã¦ã€ãƒžãƒ«ãƒãƒãƒ£ãƒãƒ«ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªå‡ºåŠ›ã‚’作æˆã™ã‚‹ã€ãªã©ã§ã™ã€‚ä»–ã«ã‚‚技ãŒã‚ã‚‹ã“ã¨ã¯ç–‘ã†ã¹ãã‚‚ã‚ã‚Šã¾ã›ã‚“。"
#. Tag: title
#, no-c-format
@@ -906,8 +1385,15 @@ msgstr "æ—¢å˜ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’インãƒãƒ¼ãƒˆã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
-msgstr "オーディオを録音ã™ã‚‹ã¨ã€<application>Ardour</application> ã¯è‡ªå‹•çš„ã«ãれをディスクã«ä¿å˜ã—ã¦ã€ãã®ãƒ•ã‚¡ã‚¤ãƒ«ã®ãƒ—ãƒã‚°ãƒ©ãƒ ã§ã®è¡¨ç¾ã‚’ \"リージョン \"ã¨ã—ã¦è¿½åŠ ã—ã¾ã™ã€‚æ—¢å˜ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ã‚’リージョンã¨ã—ã¦ä½¿ã†ã“ã¨ã‚‚ã§ãã€ãã‚Œã¯ã©ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã‚‚付ã‘åŠ ãˆã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
+msgstr ""
+"オーディオを録音ã™ã‚‹ã¨ã€<application>Ardour</application> "
+"ã¯è‡ªå‹•çš„ã«ãれをディスクã«ä¿å˜ã—ã¦ã€ãã®ãƒ•ã‚¡ã‚¤ãƒ«ã®ãƒ—ãƒã‚°ãƒ©ãƒ ã§ã®è¡¨ç¾ã‚’ \"リージョン "
+"\"ã¨ã—ã¦è¿½åŠ ã—ã¾ã™ã€‚æ—¢å˜ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ã‚’リージョンã¨ã—ã¦ä½¿ã†ã“ã¨ã‚‚ã§ãã€ãã‚Œã¯ã©ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã‚‚付ã‘åŠ ãˆã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -916,7 +1402,9 @@ msgstr "æ—¢å˜ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ã‚’インãƒãƒ¼ãƒˆã™ã‚‹ã«ã¯ï¼š"
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr "インタフェースã®å³å´ã«ã‚るパãƒãƒ«ã® \"regions\"部分をクリックã—ã¾ã™ã€‚"
#. Tag: para
@@ -956,22 +1444,47 @@ msgstr "\"Search Freesound\" ( フリーサウンドを探ã—ã¾ã™ )"
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
-msgstr "\"Browse Files\"を使ã£ã¦ã€åŠ ãˆãŸã„サウンドã®å ´æ‰€ã«è¡Œãã¾ã™ã€‚FLAC ã®ã‚ˆã†ãªãƒ•ã‚¡ã‚¤ãƒ«å½¢å¼ãŒã‚µãƒãƒ¼ãƒˆã•ã‚Œã¦ã„ã¾ã™ãŒã€WAV ã‚ã‚‹ã„㯠AIFF ファイルãŒãŸã¶ã‚“ã€ä¸€ç•ªã‚ˆã„ã§ã—ょã†ã€‚"
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
+msgstr ""
+"\"Browse Files\"を使ã£ã¦ã€åŠ ãˆãŸã„サウンドã®å ´æ‰€ã«è¡Œãã¾ã™ã€‚FLAC ã®ã‚ˆã†ãªãƒ•ã‚¡ã‚¤ãƒ«å½¢å¼ãŒã‚µãƒãƒ¼ãƒˆã•ã‚Œã¦ã„ã¾ã™ãŒã€WAV ã‚ã‚‹ã„㯠"
+"AIFF ファイルãŒãŸã¶ã‚“ã€ä¸€ç•ªã‚ˆã„ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
-msgstr "ウインドウã®å³å´ã«ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ã®ã„ã‚ã„ã‚ãªæƒ…å ±ãŒè¡¨ç¤ºã•ã‚Œã¾ã™ã€‚ウインドウã®ã“ã®éƒ¨åˆ†ã§ãã®ãƒ•ã‚¡ã‚¤ãƒ«ã‚’インãƒãƒ¼ãƒˆã™ã‚‹å‰ã«ã€\"è©¦è´ \"ã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚ã¤ã¾ã‚Šã€ã‚ãªãŸã¯è‡ªåˆ†ã®ç¾åœ¨ã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã«å½±éŸ¿ã‚’与ãˆã‚‹ã“ã¨ãªãã€ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã® \"Play\"㨠\"Stop\"ボタンを使ã£ã¦ãれをèžãã“ã¨ãŒã§ãã¾ã™ã€‚"
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
+msgstr ""
+"ウインドウã®å³å´ã«ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ã®ã„ã‚ã„ã‚ãªæƒ…å ±ãŒè¡¨ç¤ºã•ã‚Œã¾ã™ã€‚ウインドウã®ã“ã®éƒ¨åˆ†ã§ãã®ãƒ•ã‚¡ã‚¤ãƒ«ã‚’インãƒãƒ¼ãƒˆã™ã‚‹å‰ã«ã€\"è©¦è´ "
+"\"ã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚ã¤ã¾ã‚Šã€ã‚ãªãŸã¯è‡ªåˆ†ã®ç¾åœ¨ã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã«å½±éŸ¿ã‚’与ãˆã‚‹ã“ã¨ãªãã€ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã® \"Play\"㨠"
+"\"Stop\"ボタンを使ã£ã¦ãれをèžãã“ã¨ãŒã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
-msgstr "ã‚‚ã—ã€é¸æŠžã—ãŸãƒ•ã‚¡ã‚¤ãƒ«ãŒã€ä»Šã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã¨ç•°ãªã‚‹ã‚µãƒ³ãƒ—ルレートをæŒã£ã¦ã„ã‚‹å ´åˆã€ãã®ã‚µãƒ³ãƒ—ルレートã¯èµ¤è‰²ã§ãƒã‚¤ãƒ©ã‚¤ãƒˆè¡¨ç¤ºã•ã‚Œã¾ã™ã€‚ãã‚Œã§ã‚‚é¸æŠžã—ã¦ã‚¤ãƒ³ãƒãƒ¼ãƒˆã™ã‚‹ã“ã¨ã¯ã§ãã¾ã™ã€‚ãã®ã¨ã <application>Ardour</application> ã¯å†ã³è¦å‘Šã‚’出ã—ã¾ã™ã€‚今ã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã¨ç•°ãªã‚‹ã‚µãƒ³ãƒ—ルレートã®ãƒ•ã‚¡ã‚¤ãƒ«ã‚’インãƒãƒ¼ãƒˆã—ãŸå ´åˆã€ãã‚Œã¯ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã®ã‚µãƒ³ãƒ—ルレートã§æ¼”å¥ã•ã‚Œã‚‹ã®ã§ã€é–“é•ã£ãŸé€Ÿåº¦ã¨éŸ³ç¨‹ã«ãªã‚Šã¾ã™ã€‚"
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
+msgstr ""
+"ã‚‚ã—ã€é¸æŠžã—ãŸãƒ•ã‚¡ã‚¤ãƒ«ãŒã€ä»Šã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã¨ç•°ãªã‚‹ã‚µãƒ³ãƒ—ルレートをæŒã£ã¦ã„ã‚‹å ´åˆã€ãã®ã‚µãƒ³ãƒ—ルレートã¯èµ¤è‰²ã§ãƒã‚¤ãƒ©ã‚¤ãƒˆè¡¨ç¤ºã•ã‚Œã¾ã™ã€‚ãã‚Œã§ã‚‚é¸æŠžã—ã¦ã‚¤ãƒ³ãƒãƒ¼ãƒˆã™ã‚‹ã“ã¨ã¯ã§ãã¾ã™ã€‚ãã®ã¨ã"
+" <application>Ardour</application> "
+"ã¯å†ã³è¦å‘Šã‚’出ã—ã¾ã™ã€‚今ã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã¨ç•°ãªã‚‹ã‚µãƒ³ãƒ—ルレートã®ãƒ•ã‚¡ã‚¤ãƒ«ã‚’インãƒãƒ¼ãƒˆã—ãŸå ´åˆã€ãã‚Œã¯ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆã®ã‚µãƒ³ãƒ—ルレートã§æ¼”å¥ã•ã‚Œã‚‹ã®ã§ã€é–“é•ã£ãŸé€Ÿåº¦ã¨éŸ³ç¨‹ã«ãªã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr "ウインドウã®ä¸‹ã«ã¯ã€ä»–ã®å¤šãã®ã‚ªãƒ—ションãŒè¡¨ç¤ºã•ã‚Œã¦ã„ã¾ã™ã€‚"
#. Tag: para
@@ -981,33 +1494,55 @@ msgstr "ãƒ•ã‚¡ã‚¤ãƒ«ã‚’è¿½åŠ ã™ã‚‹ã¨ãã€ä»¥ä¸‹ã®é¸æŠžãŒã‚ã‚Šã¾ã™ï¼š"
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr "\"as new tracks\"ã®å ´åˆã€ãã‚Œãžã‚Œã®ãƒ•ã‚¡ã‚¤ãƒ«ã¯ãれ専用ã®ãƒˆãƒ©ãƒƒã‚¯ã«å…¥ã‚Šã€ãƒŽãƒ¼ãƒžãƒ«ãƒ¢ãƒ¼ãƒ‰ã«è¨å®šã•ã‚Œã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã«åŠ ã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
-msgstr "\"as new tape tracks\"ã®å ´åˆã€ãã‚Œãžã‚Œã®ãƒ•ã‚¡ã‚¤ãƒ«ã¯ãれ専用ã®ãƒˆãƒ©ãƒƒã‚¯ã«å…¥ã‚Šã€ãƒ†ãƒ¼ãƒ—モードã«è¨å®šã•ã‚Œã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã«åŠ ã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
+msgstr ""
+"\"as new tape tracks\"ã®å ´åˆã€ãã‚Œãžã‚Œã®ãƒ•ã‚¡ã‚¤ãƒ«ã¯ãれ専用ã®ãƒˆãƒ©ãƒƒã‚¯ã«å…¥ã‚Šã€ãƒ†ãƒ¼ãƒ—モードã«è¨å®šã•ã‚Œã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã«åŠ ã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr "\"to region list\"ã®å ´åˆã€ãã‚Œãžã‚Œã®ãƒ•ã‚¡ã‚¤ãƒ«ã¯ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã«å…¥ã‚Šã¾ã™ãŒã€è‡ªå‹•çš„ã«ã©ã‚Œã‹ã®ãƒˆãƒ©ãƒƒã‚¯ã«å…¥ã‚‹ã“ã¨ã¯ã‚ã‚Šã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
-msgstr "自動的ã«ãƒˆãƒ©ãƒƒã‚¯ã‚’作æˆã™ã‚‹ã‚ˆã†ã«é¸æŠžã—ãŸå ´åˆã€<application>Ardour</application> ã¯ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã®ç¾åœ¨ã®ä½ç½®ã‹ã‚‰å§‹ã¾ã‚‹ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’æ–°ã—ã„トラックã«åŠ ãˆã¾ã™ã€‚"
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
+msgstr ""
+"自動的ã«ãƒˆãƒ©ãƒƒã‚¯ã‚’作æˆã™ã‚‹ã‚ˆã†ã«é¸æŠžã—ãŸå ´åˆã€<application>Ardour</application> "
+"ã¯ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã®ç¾åœ¨ã®ä½ç½®ã‹ã‚‰å§‹ã¾ã‚‹ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’æ–°ã—ã„トラックã«åŠ ãˆã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
-msgstr "ã“ã®ãƒªã‚¹ãƒˆã®ä»–ã®ã‚ªãƒ—ションã¯ã€èª¬æ˜Žã¯ã„らãªã„ã¨æ€ã„ã¾ã™ã€‚通常ã€æœ€é«˜ã®å“質ã§å¤‰æ›ã‚’ã™ã‚‹ã®ãŒã‚ˆã„ã§ã™ã€‚ãªãœãªã‚‰ã°ã€å“質ã¯å¾Œã‹ã‚‰ã„ã¤ã§ã‚‚（スペースを節約ã™ã‚‹ãŸã‚ã«ï¼‰è½ã¨ã™ã“ã¨ãŒã§ãã‚‹ã‹ã‚‰ã§ã™ã€‚"
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
+msgstr ""
+"ã“ã®ãƒªã‚¹ãƒˆã®ä»–ã®ã‚ªãƒ—ションã¯ã€èª¬æ˜Žã¯ã„らãªã„ã¨æ€ã„ã¾ã™ã€‚通常ã€æœ€é«˜ã®å“質ã§å¤‰æ›ã‚’ã™ã‚‹ã®ãŒã‚ˆã„ã§ã™ã€‚ãªãœãªã‚‰ã°ã€å“質ã¯å¾Œã‹ã‚‰ã„ã¤ã§ã‚‚（スペースを節約ã™ã‚‹ãŸã‚ã«ï¼‰è½ã¨ã™ã“ã¨ãŒã§ãã‚‹ã‹ã‚‰ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
-msgstr "ã‚‚ã—トラックを自動的ã«ä½œæˆã—ãªã„é¸æŠžã‚’ã—ãŸå ´åˆã€ã‚ãªãŸã¯ã‚¤ãƒ³ãƒãƒ¼ãƒˆã—ãŸãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’セッションã§æ¼”å¥ã™ã‚‹å‰ã«ãれをトラックã«åŠ ãˆãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。ã“れを行ã†ã®ã¯ç°¡å˜ã§ã€å³ã«ã‚ã‚‹ \"Regions\"ボックスã‹ã‚‰ãã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’é¸ã‚“ã§ã€ãƒˆãƒ©ãƒƒã‚¯ã«ãƒ‰ãƒ©ãƒƒã‚°ã™ã‚Œã°ã‚ˆã„ã§ã™ã€‚"
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
+msgstr ""
+"ã‚‚ã—トラックを自動的ã«ä½œæˆã—ãªã„é¸æŠžã‚’ã—ãŸå ´åˆã€ã‚ãªãŸã¯ã‚¤ãƒ³ãƒãƒ¼ãƒˆã—ãŸãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’セッションã§æ¼”å¥ã™ã‚‹å‰ã«ãれをトラックã«åŠ ãˆãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。ã“れを行ã†ã®ã¯ç°¡å˜ã§ã€å³ã«ã‚ã‚‹"
+" \"Regions\"ボックスã‹ã‚‰ãã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’é¸ã‚“ã§ã€ãƒˆãƒ©ãƒƒã‚¯ã«ãƒ‰ãƒ©ãƒƒã‚°ã™ã‚Œã°ã‚ˆã„ã§ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -1015,23 +1550,44 @@ msgid "Files for the Tutorial"
msgstr "ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã®ãŸã‚ã®ãƒ•ã‚¡ã‚¤ãƒ«"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
-msgstr "ã“れらã®ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãƒ•ã‚¡ã‚¤ãƒ«ã¯ã€Esther Wheaton 作曲㮠\"Here Is How\"ã¨ã„ã†æŒã®æœ€çµ‚版を作æˆã™ã‚‹ã®ã«å¿…è¦ãªã‚‚ã®ã§ã™ã€‚ãã®æŒã¯å½¼å¥³ã®ãƒ•ã‚¡ãƒ¼ã‚¹ãƒˆã‚¢ãƒ«ãƒãƒ \"Not Legendary\"ã®ä¸€éƒ¨ã¨ã—ã¦ãƒªãƒªãƒ¼ã‚¹ã•ã‚Œã€å½¼å¥³ã¯ã“ã®æŒã®ç„¡ç·¨é›†ã®ã‚½ãƒ¼ã‚¹ãƒ•ã‚¡ã‚¤ãƒ«ã‚’ Creative Commons Attribution-NonCommercial-ShareAlike licenceã€ã‚¤ãƒ³ã‚¿ãƒ¼ãƒãƒƒãƒˆã§ã¯ http://creativecommons.org/licenses/by-nc-sa/3.0/ ã§å¾—られã¾ã™ã€ã§ãƒªãƒªãƒ¼ã‚¹ã—ã¾ã—ãŸã€‚ã“ã®ã‚¢ãƒ¼ãƒã‚¹ãƒˆã«ã¤ã„ã¦è©³ã—ãã¯ã€<ulink url=\"http://www.myspace.com/estherwheaton\" /> ã® <citetitle>Esther Wheaton's MySpace Page</citetitle> ã‚’å‚照下ã•ã„。"
+#, no-c-format
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1041,13 +1597,26 @@ msgstr "曲を編集ã™ã‚‹ï¼ˆãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ï¼‰"
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
-msgstr "ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã¯ \"Here Is How\"ã®åŸºæœ¬çš„ãªæº–å‚™ã«ã¤ã„ã¦è¿°ã¹ã¾ã™ã€‚リージョンをトリムã—ã¦ã€ã‚¿ã‚¤ãƒ ラインã®ä¸Šã®æ£ã—ã„ä½ç½®ã«ç½®ãã“ã¨ãŒä¸å¿ƒã§ã™ã€‚ゴールã¯ã€å…ƒã®æ›²ã®è¤‡è£½ã‚’作り上ã’ã‚‹ã“ã¨ãªã®ã§ã€èŠ¸è¡“çš„ãªè‡ªç”±åº¦ã¯ã»ã¨ã‚“ã©ã‚ã‚Šã¾ã›ã‚“。"
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
+msgstr ""
+"ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã¯ \"Here Is "
+"How\"ã®åŸºæœ¬çš„ãªæº–å‚™ã«ã¤ã„ã¦è¿°ã¹ã¾ã™ã€‚リージョンをトリムã—ã¦ã€ã‚¿ã‚¤ãƒ ラインã®ä¸Šã®æ£ã—ã„ä½ç½®ã«ç½®ãã“ã¨ãŒä¸å¿ƒã§ã™ã€‚ゴールã¯ã€å…ƒã®æ›²ã®è¤‡è£½ã‚’作り上ã’ã‚‹ã“ã¨ãªã®ã§ã€èŠ¸è¡“çš„ãªè‡ªç”±åº¦ã¯ã»ã¨ã‚“ã©ã‚ã‚Šã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
-msgstr "ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã‚’最大ã«æ´»ç”¨ã™ã‚‹ãŸã‚ã«ã¯ã€ä¸Šè¨˜ã®ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãƒ•ã‚¡ã‚¤ãƒ«ã‚’使ã£ã¦ãã ã•ã„。ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãƒ•ã‚¡ã‚¤ãƒ«ã«ã¤ã„ã¦ã®æŒ‡ç¤ºã«å¾“ã†ã“ã¨ã§ã€ã‚ãªãŸã¯æœ¬ç‰©ã®æ›²ã‚’作æˆã™ã‚‹ãŸã‚ã«ã€å®Ÿéš›ã«ç·¨é›†ã€ãƒŸã‚シングã€ãã—ã¦ãƒžã‚¹ã‚¿ãƒªãƒ³ã‚°ã™ã‚‹æŠ€è¡“を得られるã§ã—ょã†ã€‚ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãƒ•ã‚¡ã‚¤ãƒ«ã‚’å¾—ã‚‹æ‰‹é †ã¯ã€<xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" /> ã‚’å‚照下ã•ã„。"
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgstr ""
+"ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã‚’最大ã«æ´»ç”¨ã™ã‚‹ãŸã‚ã«ã¯ã€ä¸Šè¨˜ã®ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãƒ•ã‚¡ã‚¤ãƒ«ã‚’使ã£ã¦ãã ã•ã„。ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãƒ•ã‚¡ã‚¤ãƒ«ã«ã¤ã„ã¦ã®æŒ‡ç¤ºã«å¾“ã†ã“ã¨ã§ã€ã‚ãªãŸã¯æœ¬ç‰©ã®æ›²ã‚’作æˆã™ã‚‹ãŸã‚ã«ã€å®Ÿéš›ã«ç·¨é›†ã€ãƒŸã‚シングã€ãã—ã¦ãƒžã‚¹ã‚¿ãƒªãƒ³ã‚°ã™ã‚‹æŠ€è¡“を得られるã§ã—ょã†ã€‚ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãƒ•ã‚¡ã‚¤ãƒ«ã‚’å¾—ã‚‹æ‰‹é †ã¯ã€<xref"
+" linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" /> ã‚’å‚照下ã•ã„。"
#. Tag: title
#, no-c-format
@@ -1056,12 +1625,30 @@ msgstr "トラックã¨ãƒã‚¹ã‚’è¿½åŠ ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
-msgstr "ã“ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’録音ã™ã‚‹ã®ã«ä½¿ã‚ã‚ŒãŸãƒ—ãƒã‚°ãƒ©ãƒ ã¯ã€å·¦ã¨å³ã‚’別々ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã™ã‚‹ã‚ˆã†ã«è¨å®šã•ã‚Œã¦ã„ã¾ã—ãŸã€‚ã“ã®ãŸã‚ã€<application>Ardour</application> ã‚‚ãã®ã‚ˆã†ã«è¨å®šã•ã‚Œã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ãã†ã™ã‚‹ã¨ã€ã‚»ãƒƒãƒˆã‚¢ãƒƒãƒ—ãŒé¢å€’ã§ã€ãƒ¡ãƒ¢ãƒªã‚„ CPU パワーもより必è¦ã¨ã—ã¾ã™ãŒã€ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã¨ãƒ¬ãƒ™ãƒ«ã®ãƒãƒ©ãƒ³ã‚¹ã®åˆ¶å¾¡ã«ã¤ã„ã¦ã¯ã‚ˆã‚Šå®Œå…¨ã¨ãªã‚Šã¾ã™ã€‚ボーカルã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã€ãã—ã¦å¼¦æ¥½å™¨ã«ã¤ã„ã¦ï¼‘トラックをã€ãƒžãƒªãƒ³ãƒã«ã¯ï¼’トラックを使ã„ã¾ã™ã€‚ステレオオーディオã§ã™ã‹ã‚‰ã€å€ã«ãªã£ã¦ã€å…¨éƒ¨ã§ï¼‘ï¼ãƒˆãƒ©ãƒƒã‚¯ãŒå¿…è¦ã§ã™ã€‚ステレオトラックを一緒ã«æ“作ã™ã‚‹ã“ã¨ãŒã§ãã‚‹ã¨ä¾¿åˆ©ãªã®ã§ã€ãã®ãŸã‚ã«ï¼•ã¤ã®ãƒã‚¹ã‚’使ã„ã¾ã™ã€‚ã“ã†ã™ã‚‹ã“ã¨ã§ã€ã‚¹ãƒ†ãƒ¬ã‚ªãƒãƒ£ãƒãƒ«ã®ä¸¡æ–¹ã‚’変更ã™ã‚‹ã“ã¨ã‚‚ã€ç‰‡æ–¹ã ã‘を変更ã™ã‚‹ã“ã¨ã‚‚ã§
ãるよã†ã«ãªã‚Šã¾ã™ã€‚ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãŒé€²ã‚€ã«é€£ã‚Œã¦ã€ãŠã‚ã‹ã‚Šã«ãªã‚‹ã¨æ€ã„ã¾ã™ã€‚ã“れら全部ã¯ã€<application>Ardour</application> ã®ä¸ã§è¡Œã‚ã‚Œã¾ã™ã€‚"
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
+msgstr ""
+"ã“ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’録音ã™ã‚‹ã®ã«ä½¿ã‚ã‚ŒãŸãƒ—ãƒã‚°ãƒ©ãƒ ã¯ã€å·¦ã¨å³ã‚’別々ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã™ã‚‹ã‚ˆã†ã«è¨å®šã•ã‚Œã¦ã„ã¾ã—ãŸã€‚ã“ã®ãŸã‚ã€<application>Ardour</application>"
+" ã‚‚ãã®ã‚ˆã†ã«è¨å®šã•ã‚Œã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ãã†ã™ã‚‹ã¨ã€ã‚»ãƒƒãƒˆã‚¢ãƒƒãƒ—ãŒé¢å€’ã§ã€ãƒ¡ãƒ¢ãƒªã‚„ CPU "
+"パワーもより必è¦ã¨ã—ã¾ã™ãŒã€ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã¨ãƒ¬ãƒ™ãƒ«ã®ãƒãƒ©ãƒ³ã‚¹ã®åˆ¶å¾¡ã«ã¤ã„ã¦ã¯ã‚ˆã‚Šå®Œå…¨ã¨ãªã‚Šã¾ã™ã€‚ボーカルã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã€ãã—ã¦å¼¦æ¥½å™¨ã«ã¤ã„ã¦ï¼‘トラックをã€ãƒžãƒªãƒ³ãƒã«ã¯ï¼’トラックを使ã„ã¾ã™ã€‚ステレオオーディオã§ã™ã‹ã‚‰ã€å€ã«ãªã£ã¦ã€å…¨éƒ¨ã§ï¼‘ï¼ãƒˆãƒ©ãƒƒã‚¯ãŒå¿…è¦ã§ã™ã€‚ステレオトラックを一緒ã«æ“作ã™ã‚‹ã“ã¨ãŒã§ãã‚‹ã¨ä¾¿åˆ©ãªã®ã§ã€ãã®ãŸã‚ã«ï¼•ã¤ã®ãƒã‚¹ã‚’使ã„ã¾ã™ã€‚ã“ã†ã™ã‚‹ã“ã¨ã§ã€ã‚¹ãƒ†ãƒ¬ã‚ªãƒãƒ£ãƒãƒ«ã®ä¸¡æ–¹ã‚’変更ã™ã‚‹ã“ã¨ã‚‚ã€ç‰‡æ–¹ã ã‘を変更ã™ã‚‹ã“ã¨ã‚‚ã§ãるよã†ã«ãªã‚Šã¾ã™ã€‚ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãŒé€²ã‚€ã«é€£ã‚Œã¦ã€ãŠã‚ã‹ã‚Šã«ãªã‚‹ã¨æ€ã„ã¾ã™ã€‚ã“れら全部ã¯ã€<application>Ardour</application>"
+" ã®ä¸ã§è¡Œã‚ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr "\"master\" ã¨ã„ã†åå‰ã®ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ãŒæ—¢ã«ã‚ã‚Šã€ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªå‡ºåŠ›ã¯ã“ã®ãƒã‚¹ã‚’経由ã—ã¦è¡Œã‚ã‚Œã¾ã™ã€‚"
#. Tag: para
@@ -1086,7 +1673,9 @@ msgstr "'Add'をクリックã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr "５ã¤ã®ãƒã‚¹ã¯ã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®ä¸‹ã«ã€\"Bus 1\" ã‹ã‚‰ \"Bus 5\" ã¨ã„ã†åå‰ã§ç¾ã‚Œã‚‹ã¯ãšã§ã™ã€‚"
#. Tag: para
@@ -1096,23 +1685,32 @@ msgstr "ãƒã‚¹ã®åå‰ã‚’変更ã—ã¾ã™ï¼š"
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr "ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®å·¦ç«¯ã«ã€ãã‚Œãžã‚Œã®ãƒã‚¹ã®åå‰ã®ã¤ã„ãŸãƒœãƒƒã‚¯ã‚¹ã‚’å«ã‚€ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã®ã‚るスペースãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr "ãƒã‚¹ã®åå‰ã‚’変ãˆã‚‹ã«ã¯ã€ãƒã‚¹ã®åå‰ãŒæ›¸ã‹ã‚ŒãŸãƒœãƒƒã‚¯ã‚¹ã®ä¸ã‚’マウスã§å·¦ã‚¯ãƒªãƒƒã‚¯ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr "ボックスã¯ãƒ†ã‚スト編集ボックスã«ãªã‚Šã¾ã™ã€‚内容を消ã—ã¦ã€æ–°ã—ã„åå‰ã‚’書ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
-msgstr "æ–°ã—ã„åå‰ã‚’入れãŸã‚‰ã€ã‚ーボード㧠\"Enter\" を押ã—ã¦ã€ <application>Ardour</application> ã«è¨å®šã—ã¾ã™ã€‚"
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
+msgstr ""
+"æ–°ã—ã„åå‰ã‚’入れãŸã‚‰ã€ã‚ーボード㧠\"Enter\" を押ã—ã¦ã€ <application>Ardour</application> ã«è¨å®šã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -1156,13 +1754,22 @@ msgstr "１ï¼ã®ã€ãƒŽãƒ¼ãƒžãƒ«ãƒ¢ãƒ¼ãƒ‰ã®ãƒ¢ãƒŽãƒ©ãƒ«ãƒˆãƒ©ãƒƒã‚¯ã‚’è¿½åŠ ã™
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr "ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®ãƒã‚¹ã®ä¸‹ã«ã€ \"Audio 1\" ã‹ã‚‰ \"Audio 10\" ã¨ã„ã†åå‰ã®ãƒˆãƒ©ãƒƒã‚¯ãŒç¾ã‚Œã‚‹ã¯ãšã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
-msgstr "ãƒã‚¹ã®åå‰ã‚’変ãˆãŸã®ã¨åŒã˜ã‚ˆã†ã«ã€ãƒˆãƒ©ãƒƒã‚¯ã®åå‰ã‚’変ãˆã¾ã™ã€‚ã“ã“ã®ãã‚Œãžã‚Œã®ãƒˆãƒ©ãƒƒã‚¯ã¯ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒãƒ£ãƒãƒ«ã®å·¦ã‹å³ã ã‘ã‚’ä¿æŒã™ã‚‹ã“ã¨ã«æ³¨æ„ãã ã•ã„。åå‰ã¯ã€å·¦ãƒãƒ£ãƒãƒ«ãªã‚‰ \"0\" ã‹ \"L\" ã€å³ãƒãƒ£ãƒãƒ«ãªã‚‰ \"1\" ã‹ \"R\" ã‚’å…ˆé ã‚ã‚‹ã„ã¯å¾Œå°¾ã«ã¤ã‘ã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚ã“ã®ã‚ˆã†ãªåå‰ã«ãªã‚‹ã§ã—ょã†ï¼š"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
+msgstr ""
+"ãƒã‚¹ã®åå‰ã‚’変ãˆãŸã®ã¨åŒã˜ã‚ˆã†ã«ã€ãƒˆãƒ©ãƒƒã‚¯ã®åå‰ã‚’変ãˆã¾ã™ã€‚ã“ã“ã®ãã‚Œãžã‚Œã®ãƒˆãƒ©ãƒƒã‚¯ã¯ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒãƒ£ãƒãƒ«ã®å·¦ã‹å³ã ã‘ã‚’ä¿æŒã™ã‚‹ã“ã¨ã«æ³¨æ„ãã ã•ã„。åå‰ã¯ã€å·¦ãƒãƒ£ãƒãƒ«ãªã‚‰"
+" \"0\" ã‹ \"L\" ã€å³ãƒãƒ£ãƒãƒ«ãªã‚‰ \"1\" ã‹ \"R\" ã‚’å…ˆé ã‚ã‚‹ã„ã¯å¾Œå°¾ã«ã¤ã‘ã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚ã“ã®ã‚ˆã†ãªåå‰ã«ãªã‚‹ã§ã—ょã†ï¼š"
#. Tag: para
#, no-c-format
@@ -1216,8 +1823,13 @@ msgstr "clarinet-R"
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
-msgstr "最後ã«ã€ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã®ä¸¦ã³é †ã‚’変ãˆã¾ã™ã€‚ã“ã‚Œã¯åŽ³å¯†ã«ã¯ä¸è¦ã§ã€ã‚ãªãŸãŒæœ€ã‚‚よã„ã¨æ€ã†é †åºã‚’好ãã«æŽ¡ç”¨ãã ã•ã„。例ãˆã°ã€ãƒžãƒªãƒ³ãƒã¯ã€ã»ã¨ã‚“ã©æ›²ã®é–“ãšã£ã¨æ¼”å¥ã•ã‚Œã‚‹ã®ã§ã€ä¸€ç•ªä¸‹ã«æŒã£ã¦ãã‚‹ã®ãŒã‚ˆã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。"
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
+msgstr ""
+"最後ã«ã€ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã®ä¸¦ã³é †ã‚’変ãˆã¾ã™ã€‚ã“ã‚Œã¯åŽ³å¯†ã«ã¯ä¸è¦ã§ã€ã‚ãªãŸãŒæœ€ã‚‚よã„ã¨æ€ã†é †åºã‚’好ãã«æŽ¡ç”¨ãã ã•ã„。例ãˆã°ã€ãƒžãƒªãƒ³ãƒã¯ã€ã»ã¨ã‚“ã©æ›²ã®é–“ãšã£ã¨æ¼”å¥ã•ã‚Œã‚‹ã®ã§ã€ä¸€ç•ªä¸‹ã«æŒã£ã¦ãã‚‹ã®ãŒã‚ˆã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
@@ -1226,32 +1838,55 @@ msgstr "ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®å³ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚µã‚¤ãƒ‰ãƒãƒ¼ã‚’探ã—
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
-msgstr "５ã¤ã®ã‚¿ãƒ–ãŒã‚ã‚Šã¾ã™ï¼šRegions, Tracks/Busses, Snapshots, Edit Groups, ãã—㦠Chunks ã§ã™ã€‚'Tracks/Busses' ã‚’é¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
+msgstr ""
+"５ã¤ã®ã‚¿ãƒ–ãŒã‚ã‚Šã¾ã™ï¼šRegions, Tracks/Busses, Snapshots, Edit Groups, ãã—㦠Chunks "
+"ã§ã™ã€‚'Tracks/Busses' ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
-msgstr "ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã¯ãƒªã‚¹ãƒˆã«è¡¨ç¤ºã•ã‚Œã€ãã‚Œãžã‚Œã«ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã§ãã®ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã‚’表示ã™ã‚‹ã‹ã©ã†ã‹ã®ãƒã‚§ãƒƒã‚¯ãƒœãƒƒã‚¯ã‚¹ãŒã‚ã‚Šã¾ã™ã€‚ã“ã‚Œã§ã€ãƒã‚¹ã®åå‰ã« \"bus\" ã¨ã„ã†èªžã‚’ã¤ã‘ã‚‹ã®ãŒã‚ˆã„ç†ç”±ãŒã‚ã‹ã£ãŸã¨æ€ã„ã¾ã™ã€‚"
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgstr ""
+"ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã¯ãƒªã‚¹ãƒˆã«è¡¨ç¤ºã•ã‚Œã€ãã‚Œãžã‚Œã«ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã§ãã®ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã‚’表示ã™ã‚‹ã‹ã©ã†ã‹ã®ãƒã‚§ãƒƒã‚¯ãƒœãƒƒã‚¯ã‚¹ãŒã‚ã‚Šã¾ã™ã€‚ã“ã‚Œã§ã€ãƒã‚¹ã®åå‰ã«"
+" \"bus\" ã¨ã„ã†èªžã‚’ã¤ã‘ã‚‹ã®ãŒã‚ˆã„ç†ç”±ãŒã‚ã‹ã£ãŸã¨æ€ã„ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr "トラックã¨ãƒã‚¹ã®ä¸¦ã³é †ã‚’変ãˆã‚‹ã«ã¯ã€ãƒžã‚¦ã‚¹ã§ç§»å‹•ã—ãŸã„トラックã‚ã‚‹ã„ã¯ãƒã‚¹ã®åå‰ã‚’クリックã—ã¦ãƒ‰ãƒ©ãƒƒã‚°ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
-msgstr "トラックã‚ã‚‹ã„ã¯ãƒã‚¹ã®ãƒ‰ãƒ©ãƒƒã‚°ã‚’始ã‚ã‚‹ã¨ã€ãƒªã‚¹ãƒˆã«ç·šãŒç¾ã‚Œã¦ã€ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®ç§»å‹•å…ˆã‚’示ã—ã¾ã™ã€‚リストãŒè¦‹ãˆã«ãã„時ã¯ã€ãƒ‰ãƒ©ãƒƒã‚°ã—ã¦ã„るトラックã‚ã‚‹ã„ã¯ãƒã‚¹ã‚’å°‘ã—横ã«å‹•ã‹ã™ã¨ã‚ˆã„ã§ã™ã€‚"
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
+msgstr ""
+"トラックã‚ã‚‹ã„ã¯ãƒã‚¹ã®ãƒ‰ãƒ©ãƒƒã‚°ã‚’始ã‚ã‚‹ã¨ã€ãƒªã‚¹ãƒˆã«ç·šãŒç¾ã‚Œã¦ã€ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®ç§»å‹•å…ˆã‚’示ã—ã¾ã™ã€‚リストãŒè¦‹ãˆã«ãã„時ã¯ã€ãƒ‰ãƒ©ãƒƒã‚°ã—ã¦ã„るトラックã‚ã‚‹ã„ã¯ãƒã‚¹ã‚’å°‘ã—横ã«å‹•ã‹ã™ã¨ã‚ˆã„ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
-msgstr "インタフェースã§ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã‚’ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®ä¸Šã«é‡ãられるよã†ã«è¦‹ãˆã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“ãŒã€å®Ÿã¯ãã†ã§ã¯ã‚ã‚Šã¾ã›ã‚“。トラックã‚ã‚‹ã„ã¯ãƒã‚¹ãŒä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®ä¸Šã«é‡ãªã‚‹ã‚ˆã†ã«è¦‹ãˆã‚‹ã¨ãã€å®Ÿéš›ã«ã¯ãƒªã‚¹ãƒˆã®ä¸Šã§ãã®ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®ï¼‘ã¤å‰ã«ç½®ã‹ã‚Œã¾ã™ã€‚"
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
+msgstr ""
+"インタフェースã§ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã‚’ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®ä¸Šã«é‡ãられるよã†ã«è¦‹ãˆã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“ãŒã€å®Ÿã¯ãã†ã§ã¯ã‚ã‚Šã¾ã›ã‚“。トラックã‚ã‚‹ã„ã¯ãƒã‚¹ãŒä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®ä¸Šã«é‡ãªã‚‹ã‚ˆã†ã«è¦‹ãˆã‚‹ã¨ãã€å®Ÿéš›ã«ã¯ãƒªã‚¹ãƒˆã®ä¸Šã§ãã®ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®ï¼‘ã¤å‰ã«ç½®ã‹ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr "編集ã™ã‚‹ã«ã¯ã€ãƒã‚¹ã‚’ã€ãã‚ŒãŒåˆ¶å¾¡ã™ã‚‹ãƒˆãƒ©ãƒƒã‚¯ã®æ¬¡ã«ç½®ãã¨ä¾¿åˆ©ã§ã™ã€‚ã“ã‚Œã¯ã„ã¤ã§ã‚‚ã€å¾Œã‹ã‚‰å¤‰ãˆã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
#. Tag: title
@@ -1261,52 +1896,98 @@ msgstr "トラックã¨ãƒã‚¹ã‚’接続ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
-msgstr "ç§ãŸã¡ã¯ã€å¿ƒã®ä¸ã§ã¯ãƒã‚¹ã®ã‚·ã‚¹ãƒ†ãƒ を作り上ã’ã¾ã—ãŸãŒã€ã¾ã ãれを <application>Ardour</application> ã«ã¯ä¼ãˆã¦ã„ã¾ã›ã‚“。<application>QjackCtl</application> ã§ãれを確ã‹ã‚ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚ã™ã¹ã¦ã®è¿½åŠ ã•ã‚ŒãŸãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã¯ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªå‡ºåŠ›ã«ã¤ãªãŒã£ã¦ã„ã¾ã™ã€‚ã•ã‚‰ã«æ‚ªã„ã“ã¨ã«ã€ãƒã‚¹ã«ã¯ã€å…¥åŠ›ä¿¡å·ã¯ä½•ã‚‚ã‚ã‚Šã¾ã›ã‚“。ç§ãŸã¡ãŒãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã‚’ã©ã®ã‚ˆã†ã«ã¤ãªãŽãŸã„ã®ã‹ã‚’ <application>Ardour</application> ã«ä¼ãˆã‚‹ã«ã¯ã€ï¼’ã¤ã®ã‚¢ãƒ—ãƒãƒ¼ãƒãŒã‚ã‚Šã¾ã™ã€‚ã“ã‚Œã‹ã‚‰ä¸¡æ–¹ã®ä¾‹ã‚’ã‚ã’ã¾ã™ã€‚ã‚ãªãŸãŒã€æ®‹ã‚Šã‚’仕上ã’ã¦ãã ã•ã„。"
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
+msgstr ""
+"ç§ãŸã¡ã¯ã€å¿ƒã®ä¸ã§ã¯ãƒã‚¹ã®ã‚·ã‚¹ãƒ†ãƒ を作り上ã’ã¾ã—ãŸãŒã€ã¾ã ãれを <application>Ardour</application> "
+"ã«ã¯ä¼ãˆã¦ã„ã¾ã›ã‚“。<application>QjackCtl</application> "
+"ã§ãれを確ã‹ã‚ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚ã™ã¹ã¦ã®è¿½åŠ ã•ã‚ŒãŸãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã¯ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªå‡ºåŠ›ã«ã¤ãªãŒã£ã¦ã„ã¾ã™ã€‚ã•ã‚‰ã«æ‚ªã„ã“ã¨ã«ã€ãƒã‚¹ã«ã¯ã€å…¥åŠ›ä¿¡å·ã¯ä½•ã‚‚ã‚ã‚Šã¾ã›ã‚“。ç§ãŸã¡ãŒãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã‚’ã©ã®ã‚ˆã†ã«ã¤ãªãŽãŸã„ã®ã‹ã‚’"
+" <application>Ardour</application> "
+"ã«ä¼ãˆã‚‹ã«ã¯ã€ï¼’ã¤ã®ã‚¢ãƒ—ãƒãƒ¼ãƒãŒã‚ã‚Šã¾ã™ã€‚ã“ã‚Œã‹ã‚‰ä¸¡æ–¹ã®ä¾‹ã‚’ã‚ã’ã¾ã™ã€‚ã‚ãªãŸãŒã€æ®‹ã‚Šã‚’仕上ã’ã¦ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr "トラックã¨ãƒã‚¹ã‚’ã¤ãªã１ã¤ã®æ–¹æ³•ã¯ã€æŽ¥ç¶šã®å¤‰æ›´ãŒå°‘ãªã„時ã«é©ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr "コントãƒãƒ¼ãƒ«ã®ä¸‹ã€ãƒˆãƒ©ãƒƒã‚¯ã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã‚¨ãƒªã‚¢ã‚’クリックã—ã¦ã€\"marimba1-L\" トラックをé¸æŠžãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr "ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®å·¦ã®ã‚¨ãƒ‡ã‚£ã‚¿ãƒŸã‚サーãŒã€ãƒˆãƒ©ãƒƒã‚¯ã®åå‰ã¨è‰²ï¼ˆãŸã¶ã‚“ã€ä»Šã®å ´åˆã€ç·‘）を上ã®æ–¹ã«è¡¨ç¤ºã™ã‚‹ã¯ãšã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
-msgstr "エディタミã‚サーãŒè¦‹ãˆãªã„ã¨ãã¯ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'View > Show Editor Mixer' をクリックã—ã¦ã€ãƒã‚§ãƒƒã‚¯ã‚’ã¤ã‘ã¾ã™ã€‚ã‚ーボードã‹ã‚‰ 'Shift + E' を押ã—ã¦ã‚‚ã€è¡¨ç¤ºã‚’トグルã§ãã¾ã™ã€‚"
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
+msgstr ""
+"エディタミã‚サーãŒè¦‹ãˆãªã„ã¨ãã¯ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'View > Show Editor Mixer' "
+"をクリックã—ã¦ã€ãƒã‚§ãƒƒã‚¯ã‚’ã¤ã‘ã¾ã™ã€‚ã‚ーボードã‹ã‚‰ 'Shift + E' を押ã—ã¦ã‚‚ã€è¡¨ç¤ºã‚’トグルã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
-msgstr "エディタミã‚サー㌠\"marimba1-L\" トラックã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã‚’表示ã—ã¦ã„ã‚‹ã®ã‚’確èªã—ãŸã‚‰ã€ã‚¨ãƒ‡ã‚£ã‚¿ãƒŸã‚サーã®ä¸€ç•ªä¸‹ã€ 'Comments' ã®ä¸Šã®ãƒœã‚¿ãƒ³ã‚’見ã¦ãã ã•ã„。\"master\" ã¨ã‚ã‚‹ã¯ãšã§ã™ã€‚出力ãŒãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«ã¤ãªãŒã£ã¦ã„ã‚‹ã“ã¨ã‚’æ„味ã—ã¾ã™ã€‚ã“ã‚Œã¯æœ›ã‚€ã‚‚ã®ã§ã¯ã‚ã‚Šã¾ã›ã‚“。 \"master\" ボタンをクリックã—ã¾ã™ã€‚"
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
+msgstr ""
+"エディタミã‚サー㌠\"marimba1-L\" トラックã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã‚’表示ã—ã¦ã„ã‚‹ã®ã‚’確èªã—ãŸã‚‰ã€ã‚¨ãƒ‡ã‚£ã‚¿ãƒŸã‚サーã®ä¸€ç•ªä¸‹ã€ 'Comments' "
+"ã®ä¸Šã®ãƒœã‚¿ãƒ³ã‚’見ã¦ãã ã•ã„。\"master\" ã¨ã‚ã‚‹ã¯ãšã§ã™ã€‚出力ãŒãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã«ã¤ãªãŒã£ã¦ã„ã‚‹ã“ã¨ã‚’æ„味ã—ã¾ã™ã€‚ã“ã‚Œã¯æœ›ã‚€ã‚‚ã®ã§ã¯ã‚ã‚Šã¾ã›ã‚“。 "
+"\"master\" ボタンをクリックã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
-msgstr "'master' ボタンをクリックã™ã‚‹ã¨ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ãŒãƒãƒƒãƒ—アップã—ã¦ã€åˆ¥ã®å‡ºåŠ›ã‚’é¸ã¹ã‚‹ã‚ˆã†ã«ãªã‚Šã¾ã™ã€‚ã“ã®ãƒˆãƒ©ãƒƒã‚¯ã¯ã€ \"Bus-marimba1\" ãƒã‚¹ã«ã¤ãªãŽãŸã„ã®ã§ã™ãŒã€ãƒªã‚¹ãƒˆã«ã¯ã‚ã‚Šã¾ã›ã‚“。ã“ã®ãŸã‚メニューã‹ã‚‰ 'Edit' ã‚’é¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
+msgstr ""
+"'master' ボタンをクリックã™ã‚‹ã¨ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ãŒãƒãƒƒãƒ—アップã—ã¦ã€åˆ¥ã®å‡ºåŠ›ã‚’é¸ã¹ã‚‹ã‚ˆã†ã«ãªã‚Šã¾ã™ã€‚ã“ã®ãƒˆãƒ©ãƒƒã‚¯ã¯ã€ \"Bus-marimba1\""
+" ãƒã‚¹ã«ã¤ãªãŽãŸã„ã®ã§ã™ãŒã€ãƒªã‚¹ãƒˆã«ã¯ã‚ã‚Šã¾ã›ã‚“。ã“ã®ãŸã‚メニューã‹ã‚‰ 'Edit' ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr "コãƒã‚¯ã‚·ãƒ§ãƒ³ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ãŒç¾ã‚Œã¾ã™ã€‚使ã„æ–¹ãŒã‚ã‹ã‚Šã«ãã„ã®ã§ã€ä»¥ä¸‹ã«èª¬æ˜Žã—ã¾ã™ï¼š"
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
-msgstr "å·¦ã®ã€ \"Outputs\" ã®ãƒ©ãƒ™ãƒ«ã®ã¨ã“ã‚ã¯ã€ \"out 1\" 㨠\"out 2\" ã®ï¼’ã¤ã®å‡ºåŠ›ãƒãƒ£ãƒãƒ«ã€ãã‚Œã«ã€ãã‚ŒãŒã¤ãªãŒã£ã¦ã„ã‚‹å…ˆã®ã™ã¹ã¦ã®ã‚‚ã®ã®ãƒªã‚¹ãƒˆãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
+msgstr ""
+"å·¦ã®ã€ \"Outputs\" ã®ãƒ©ãƒ™ãƒ«ã®ã¨ã“ã‚ã¯ã€ \"out 1\" 㨠\"out 2\" "
+"ã®ï¼’ã¤ã®å‡ºåŠ›ãƒãƒ£ãƒãƒ«ã€ãã‚Œã«ã€ãã‚ŒãŒã¤ãªãŒã£ã¦ã„ã‚‹å…ˆã®ã™ã¹ã¦ã®ã‚‚ã®ã®ãƒªã‚¹ãƒˆãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr "'Add' ボタンã¯ã€å‡ºåŠ›ãƒãƒ£ãƒãƒ«ã‚’è¿½åŠ ã—ã¾ã™ã€‚ä¿¡å·ã‚’ステレオãƒã‚¹ã«å‡ºåŠ›ã™ã‚‹ã®ã§ã€ï¼’ã¤ã§å分ã§ã™ã€‚"
#. Tag: para
@@ -1316,7 +1997,8 @@ msgstr "'Remove' ボタンã¯ã€å‡ºåŠ›ãƒãƒ£ãƒãƒ«ã‚’削除ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr "'Disconnect All' ボタンã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã®å‡ºåŠ›ã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ã‚’ã™ã¹ã¦å‰Šé™¤ã—ã¾ã™ã€‚"
#. Tag: para
@@ -1326,17 +2008,26 @@ msgstr "ã“ã®ãƒªã‚¹ãƒˆã§ã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ã‚’クリックã™ã‚‹ã¨ã€å‰Šé™¤ã•
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
-msgstr "å³å´ã€\"Available connections\" ã¨ãƒ©ãƒ™ãƒ«ã®ã‚ã‚‹æ–¹ã«ã¯ã€<systemitem>JACK</systemitem> ãŒæä¾›ã™ã‚‹ã™ã¹ã¦ã®å…¥åŠ›ã®ãƒªã‚¹ãƒˆãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
+msgstr ""
+"å³å´ã€\"Available connections\" ã¨ãƒ©ãƒ™ãƒ«ã®ã‚ã‚‹æ–¹ã«ã¯ã€<systemitem>JACK</systemitem> "
+"ãŒæä¾›ã™ã‚‹ã™ã¹ã¦ã®å…¥åŠ›ã®ãƒªã‚¹ãƒˆãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
-msgstr "<systemitem>JACK</systemitem> 対応ã®ã‚¢ãƒ—リケーションã¯ã€ãã‚Œãžã‚Œã€ã‚¿ãƒ–ãŒã‚ã‚Šã€ãã®ä¸‹ã«ã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ã®ãƒªã‚¹ãƒˆãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
+msgstr ""
+"<systemitem>JACK</systemitem> 対応ã®ã‚¢ãƒ—リケーションã¯ã€ãã‚Œãžã‚Œã€ã‚¿ãƒ–ãŒã‚ã‚Šã€ãã®ä¸‹ã«ã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ã®ãƒªã‚¹ãƒˆãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr "ã“ã®ãƒªã‚¹ãƒˆã®ã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ã‚’クリックã™ã‚‹ã¨ã€æœ€å¾Œã«é¸æŠžã•ã‚ŒãŸå‡ºåŠ›ãƒãƒ£ãƒãƒ«ã«ã€ãã‚ŒãŒåŠ ãˆã‚‰ã‚Œã¾ã™ã€‚"
#. Tag: para
@@ -1351,17 +2042,25 @@ msgstr "空㮠\"out 1\" リストをクリックã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
-msgstr "\"Available connections\" リストã‹ã‚‰ã€\"Bus-marimba1/in 1\" コãƒã‚¯ã‚·ãƒ§ãƒ³ã‚’クリックã—ã¾ã™ã€‚ãれ㯠\"out 1\" リストã«åŠ ãˆã‚‰ã‚Œã¾ã™ã€‚"
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
+msgstr ""
+"\"Available connections\" リストã‹ã‚‰ã€\"Bus-marimba1/in 1\" コãƒã‚¯ã‚·ãƒ§ãƒ³ã‚’クリックã—ã¾ã™ã€‚ãれ㯠"
+"\"out 1\" リストã«åŠ ãˆã‚‰ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr "次ã«ã€\"Bus-marimba1/in 2\" コãƒã‚¯ã‚·ãƒ§ãƒ³ã‚’クリックã—ã¾ã™ã€‚ãã‚Œã¯ã€ \"out 2\" リストã«åŠ ãˆã‚‰ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr "コãƒã‚¯ã‚·ãƒ§ãƒ³ãƒªã‚¹ãƒˆã®è¡¨ç¤ºãŒå¤‰ã‚ã£ã¦ã€ã‚ãªãŸãŒã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ã®ãƒšã‚¢ã‚’è¿½åŠ ã—ãŸã“ã¨ã‚’示ã—ã¾ã™ã€‚"
#. Tag: para
@@ -1371,28 +2070,44 @@ msgstr "'Close' をクリックã—ã¦ã€ã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ã®å¤‰æ›´ã‚’有効ã«
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr "\"master\" ボタンã¯ã€ \"Bus-ma\" ã®ã‚ˆã†ã«ãªã£ã¦ã„ã‚‹ã“ã¨ã«æ³¨æ„ãã ã•ã„。トラックã®å‡ºåŠ›ã‚³ãƒã‚¯ã‚·ãƒ§ãƒ³ãŒå¤‰ã‚ã£ãŸãŸã‚ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr "コãƒã‚¯ã‚·ãƒ§ãƒ³ã‚’変更ã™ã‚‹ã‚‚ã†ï¼‘ã¤ã®æ–¹æ³•ã¯ã€ä»Šå›žå¿…è¦ã¨ãªã‚‹ã‚ˆã†ãªã€å¤§é‡ã®å¤‰æ›´ã‚’è¡Œã†ã®ã«ã€ãšã£ã¨é«˜é€Ÿã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
-msgstr "<menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice> ã‚’é¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
+msgstr ""
+"<menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice> ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr "\"Track/Bus Inspector\" ウインドウãŒç¾ã‚Œã¾ã™ã€‚å·¦å´ã«ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã®ãƒªã‚¹ãƒˆãŒã€å³å´ã«ï¼”ã¤ã®æƒ…å ±ã‚¿ãƒ–ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
-msgstr "\"Inputs\" 㨠\"Outputs\" タブã§ã€é¸æŠžã•ã‚ŒãŸãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®å…¥åŠ›ã¨å‡ºåŠ›ã‚’見ãŸã‚Šè¨å®šã—ãŸã‚Šã§ãã¾ã™ã€‚ï¼’ã¤ã® \"Redirects\" タブã¯ã€ãƒ—ラグインã®è¨å®šã‚’変ãˆã‚‹ã®ã«ä½¿ã„ã¾ã™ãŒã€ã“ã®ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã§ã¯æ‰±ã„ã¾ã›ã‚“。"
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
+msgstr ""
+"\"Inputs\" 㨠\"Outputs\" タブã§ã€é¸æŠžã•ã‚ŒãŸãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã®å…¥åŠ›ã¨å‡ºåŠ›ã‚’見ãŸã‚Šè¨å®šã—ãŸã‚Šã§ãã¾ã™ã€‚ï¼’ã¤ã® "
+"\"Redirects\" タブã¯ã€ãƒ—ラグインã®è¨å®šã‚’変ãˆã‚‹ã®ã«ä½¿ã„ã¾ã™ãŒã€ã“ã®ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã§ã¯æ‰±ã„ã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
@@ -1406,7 +2121,9 @@ msgstr "\"Input\" 㨠\"Output\" タブを見ã¦ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr "\"marimba1-L\" トラックãŒã€ã“ã®ãƒã‚¹ã®å…¥åŠ›ã«æŽ¥ç¶šã•ã‚Œã€ã“ã®ãƒã‚¹ã®å‡ºåŠ›ãŒã€ \"master\" ãƒã‚¹ã®å…¥åŠ›ã«æŽ¥ç¶šã•ã‚Œã¦ã„ã‚‹ã®ã‚’確èªãã ã•ã„。"
#. Tag: para
@@ -1416,12 +2133,16 @@ msgstr "\"marimba1-R\" トラックã®ï¼’ã¤ã®å‡ºåŠ›ã‚’ã€ã“ã®ãƒã‚¹ã®å…¥åŠ›
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr "\"marimba1-R\" トラックã®å‡ºåŠ›ã‚’見ã¦ãã ã•ã„。ã“ã‚Œã¯ã€æœ›ã‚€ã‚‚ã®ã§ã¯ã‚ã‚Šã¾ã›ã‚“。マスターãƒã‚¹ã¸ã®æŽ¥ç¶šã‚’削除ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr "ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã‚‚ä¿®æ£ã—ã¦ã€ä»¥ä¸‹ã®ãƒ†ãƒ¼ãƒ–ルãŒç¤ºã™ã‚ˆã†ãªæŽ¥ç¶šã«ãªã‚‹ã‚ˆã†ã«ã—ã¦ãã ã•ã„。"
#. Tag: para
@@ -1431,7 +2152,8 @@ msgstr "ãã‚Œãžã‚Œã®ãƒã‚¹ã® \"Input\" タブを見ã¦ã€æŽ¥ç¶šã‚’確èªã
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr "マスターãƒã‚¹ã®å…¥åŠ›ã«ã¯ã€ï¼•ã¤ã®ãƒã‚¹ã ã‘ãŒã¤ãªãŒã£ã¦ã„ã‚‹ã“ã¨ã‚’確èªãã ã•ã„。"
#. Tag: title
@@ -1446,18 +2168,34 @@ msgstr "トラックã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’è¿½åŠ ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
-msgstr "次ã®ã‚¹ãƒ†ãƒƒãƒ—ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’è¿½åŠ ã™ã‚‹ã“ã¨ã§ã™ã€‚ã“ã®æ™‚点ã§ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’切り詰ã‚ã‚‹ã¨ã€å¾Œã®ä½œæ¥ãŒé€Ÿããªã‚‹ã®ã§ã™ãŒã€é•·ã„リージョンã€ã‚ã‚‹ã„ã¯ä¼‘æ¢ï¼ˆã»ã¨ã‚“ã©é™ã‹ãªã‚¹ãƒšãƒ¼ã‚¹ï¼‰ã‚’リージョンã«æŒã¤ã®ã¯ã€ä¾¿åˆ©ãªç†ç”±ãŒã„ãã¤ã‚‚ã‚ã‚‹ã®ã§ã€ä»Šå›žã¯ãã®ã¾ã¾ã¨ã—ã¾ã—ょã†ã€‚"
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
+msgstr ""
+"次ã®ã‚¹ãƒ†ãƒƒãƒ—ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’è¿½åŠ ã™ã‚‹ã“ã¨ã§ã™ã€‚ã“ã®æ™‚点ã§ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’切り詰ã‚ã‚‹ã¨ã€å¾Œã®ä½œæ¥ãŒé€Ÿããªã‚‹ã®ã§ã™ãŒã€é•·ã„リージョンã€ã‚ã‚‹ã„ã¯ä¼‘æ¢ï¼ˆã»ã¨ã‚“ã©é™ã‹ãªã‚¹ãƒšãƒ¼ã‚¹ï¼‰ã‚’リージョンã«æŒã¤ã®ã¯ã€ä¾¿åˆ©ãªç†ç”±ãŒã„ãã¤ã‚‚ã‚ã‚‹ã®ã§ã€ä»Šå›žã¯ãã®ã¾ã¾ã¨ã—ã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
-msgstr "セッションサイドãƒãƒ¼ï¼ˆã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®å³ï¼‰ã§ã€\"Regions\" タブをé¸æŠžã—ã¾ã™ã€‚リストã«ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ã™ã¹ã¦ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒå«ã¾ã‚Œã¾ã™ã€‚ãã‚Œãžã‚Œã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ï¼‘度ã ã‘表示ã•ã‚Œã¾ã™ã€‚タイムラインã®ä¸Šã§ä½•å›žã€ç¾ã‚Œã‚ˆã†ã¨ã€ã‚ã‚‹ã„ã¯ã€å…¨ã使ã‚ã‚Œãªãã¦ã‚‚ã€ã§ã™ã€‚"
-
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
+msgstr ""
+"セッションサイドãƒãƒ¼ï¼ˆã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®å³ï¼‰ã§ã€\"Regions\" "
+"タブをé¸æŠžã—ã¾ã™ã€‚リストã«ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ã™ã¹ã¦ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒå«ã¾ã‚Œã¾ã™ã€‚ãã‚Œãžã‚Œã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ï¼‘度ã ã‘表示ã•ã‚Œã¾ã™ã€‚タイムラインã®ä¸Šã§ä½•å›žã€ç¾ã‚Œã‚ˆã†ã¨ã€ã‚ã‚‹ã„ã¯ã€å…¨ã使ã‚ã‚Œãªãã¦ã‚‚ã€ã§ã™ã€‚"
+
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
-msgstr "ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’è¿½åŠ ã™ã‚‹ã«ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®åå‰ã‚’クリックã—ã¦ã€ãƒˆãƒ©ãƒƒã‚¯ã®ä¸Šã«ãƒ‰ãƒ©ãƒƒã‚°ã™ã‚‹ã ã‘ã§ã™ã€‚ã“れをã™ã‚‹ã¨ãã«ã‚«ãƒ¼ã‚½ãƒ«ãŒå¤‰åŒ–ã—ã¦ã€ã‚«ãƒ¼ã‚½ãƒ«ã®åž‚ç›´ç·šãŒã€ã‚¿ã‚¤ãƒ ラインã®ä¸Šã§ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒé–‹å§‹ã™ã‚‹ç‚¹ã‚’示ã—ã¾ã™ã€‚"
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
+msgstr ""
+"ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’è¿½åŠ ã™ã‚‹ã«ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®åå‰ã‚’クリックã—ã¦ã€ãƒˆãƒ©ãƒƒã‚¯ã®ä¸Šã«ãƒ‰ãƒ©ãƒƒã‚°ã™ã‚‹ã ã‘ã§ã™ã€‚ã“れをã™ã‚‹ã¨ãã«ã‚«ãƒ¼ã‚½ãƒ«ãŒå¤‰åŒ–ã—ã¦ã€ã‚«ãƒ¼ã‚½ãƒ«ã®åž‚ç›´ç·šãŒã€ã‚¿ã‚¤ãƒ ラインã®ä¸Šã§ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒé–‹å§‹ã™ã‚‹ç‚¹ã‚’示ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -1466,47 +2204,104 @@ msgstr "リージョンã®è¿½åŠ ã¯ã€ã“ã‚“ãªã«ç°¡å˜ï¼"
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
-msgstr "ãŠã‚ã‹ã‚Šã‹ã‚‚ã—ã‚Œã¾ã›ã‚“ãŒã€å®Ÿã¯ã¾ã ã‚„ã‚‹ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚ãã—ã¦ãã‚Œã¯ã€ã“ã®ç‰¹å®šã®ãƒ•ã‚¡ã‚¤ãƒ«ã®æ§‹æˆã«é–¢ä¿‚ãŒã‚ã‚Šã¾ã™ã€‚リージョンリストã«ã¯ã€å¤šãã®ä¼¼ãŸåå‰ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒã‚ã‚‹ã®ã«æ°—ãŒã¤ã‹ã‚Œã‚‹ã§ã—ょã†ã€‚ãã—ã¦ã€åå‰ã®ã»ã¨ã‚“ã©ã¯ã€ç‰¹å®šã®ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã«å¯¾å¿œã—ã¾ã™ã€‚ファイルã¯ã€ä¸ã«ä½•ãŒã‚ã‚‹ã‹ã‚ã‹ã‚‹ã‚ˆã†ãªåå‰ãŒã¤ã„ã¦ã„ã¾ã™ã€‚番å·ãŒã¤ã„ã¦ã„ã¦ã€è¿½åŠ ã•ã‚Œã‚‹é †åºãŒã‚ã‹ã‚Šã¾ã™ (\"Marimba_1\" ã®æ¬¡ã¯ã€ \"Marimba_2\")。ãã—ã¦ã€æœ«å°¾ã® \"L\" ã‚ã‚‹ã„㯠\"R\" ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒå·¦ãƒãƒ£ãƒãƒ«ã‹å³ã‹ã‚’示ã—ã¾ã™ã€‚ã•ã‚‰ã«ã€ \"ens-\" ã§å§‹ã¾ã‚‹ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ \"voice\" トラックã«å±žã—ã¾ã™ã€‚ (\"ens\" ã¯ã€ \"ensemble\" ã®ç•¥ã§ã€ã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«çŸã„ボーカルã®ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルãŒã‚ã‚‹ã“ã¨ã‚’示ã—ã¾ã™ã€‚ã¾ãŸã€ \"Voice... \" リージョンã«ã¯ã€ï¼‘人ã®æŒ
手ã ã‘ãŒã‚ã‚Šã¾ã™)。\"Here_Is_How\" リージョンã¯ã€ \"Create_the_Inconceivable\" リージョンã®å‰ã«ã‚ã‚Šã¾ã™ã€‚ã“ã®ã‚ˆã†ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’å付ã‘る技術的ãªç†ç”±ã¯ã‚ã‚Šã¾ã›ã‚“。ã“れらã®åå‰ã¯ã€ã‚ãªãŸãŒæ›²ã‚’編集ã—ã¦ãƒŸãƒƒã‚¯ã‚¹ã™ã‚‹ã®ã«ä¾¿åˆ©ãªã‚ˆã†ã«ã¤ã‘られã¾ã—ãŸã€‚今ã®ã¨ã“ã‚ã€ã¾ã \"marimba2\" トラックã¨ãƒã‚¹ã¯ä½¿ã‚ãªã„ã®ã§ã€ \"Marimba_\" リージョンã¯ã€å…¨éƒ¨ã€ \"marimba1\" トラックã«å…¥ã‚Œã¦ãŠãã¾ã™ã€‚"
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
+msgstr ""
+"ãŠã‚ã‹ã‚Šã‹ã‚‚ã—ã‚Œã¾ã›ã‚“ãŒã€å®Ÿã¯ã¾ã ã‚„ã‚‹ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚ãã—ã¦ãã‚Œã¯ã€ã“ã®ç‰¹å®šã®ãƒ•ã‚¡ã‚¤ãƒ«ã®æ§‹æˆã«é–¢ä¿‚ãŒã‚ã‚Šã¾ã™ã€‚リージョンリストã«ã¯ã€å¤šãã®ä¼¼ãŸåå‰ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒã‚ã‚‹ã®ã«æ°—ãŒã¤ã‹ã‚Œã‚‹ã§ã—ょã†ã€‚ãã—ã¦ã€åå‰ã®ã»ã¨ã‚“ã©ã¯ã€ç‰¹å®šã®ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã«å¯¾å¿œã—ã¾ã™ã€‚ファイルã¯ã€ä¸ã«ä½•ãŒã‚ã‚‹ã‹ã‚ã‹ã‚‹ã‚ˆã†ãªåå‰ãŒã¤ã„ã¦ã„ã¾ã™ã€‚番å·ãŒã¤ã„ã¦ã„ã¦ã€è¿½åŠ ã•ã‚Œã‚‹é †åºãŒã‚ã‹ã‚Šã¾ã™"
+" (\"Marimba_1\" ã®æ¬¡ã¯ã€ \"Marimba_2\")。ãã—ã¦ã€æœ«å°¾ã® \"L\" ã‚ã‚‹ã„㯠\"R\" "
+"ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒå·¦ãƒãƒ£ãƒãƒ«ã‹å³ã‹ã‚’示ã—ã¾ã™ã€‚ã•ã‚‰ã«ã€ \"ens-\" ã§å§‹ã¾ã‚‹ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ \"voice\" トラックã«å±žã—ã¾ã™ã€‚ "
+"(\"ens\" ã¯ã€ \"ensemble\" ã®ç•¥ã§ã€ã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«çŸã„ボーカルã®ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルãŒã‚ã‚‹ã“ã¨ã‚’示ã—ã¾ã™ã€‚ã¾ãŸã€ \"Voice... "
+"\" リージョンã«ã¯ã€ï¼‘人ã®æŒæ‰‹ã ã‘ãŒã‚ã‚Šã¾ã™)。\"Here_Is_How\" リージョンã¯ã€ "
+"\"Create_the_Inconceivable\" "
+"リージョンã®å‰ã«ã‚ã‚Šã¾ã™ã€‚ã“ã®ã‚ˆã†ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’å付ã‘る技術的ãªç†ç”±ã¯ã‚ã‚Šã¾ã›ã‚“。ã“れらã®åå‰ã¯ã€ã‚ãªãŸãŒæ›²ã‚’編集ã—ã¦ãƒŸãƒƒã‚¯ã‚¹ã™ã‚‹ã®ã«ä¾¿åˆ©ãªã‚ˆã†ã«ã¤ã‘られã¾ã—ãŸã€‚今ã®ã¨ã“ã‚ã€ã¾ã "
+" \"marimba2\" トラックã¨ãƒã‚¹ã¯ä½¿ã‚ãªã„ã®ã§ã€ \"Marimba_\" リージョンã¯ã€å…¨éƒ¨ã€ \"marimba1\" "
+"トラックã«å…¥ã‚Œã¦ãŠãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
-msgstr "ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’è¿½åŠ ã™ã‚‹ã†ã¡ã«ã€ã‚ãªãŸã¯ <application>Ardour</application> ã§ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’æ“作ã™ã‚‹ã“ã¨ã«ã¤ã„ã¦å¤šãã‚’å¦ã¶ã§ã—ょã†ã€‚以下ã¯ã€ãŸã‚ã«ãªã‚‹ãƒ’ントã§ã™ï¼š"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
+msgstr ""
+"ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’è¿½åŠ ã™ã‚‹ã†ã¡ã«ã€ã‚ãªãŸã¯ <application>Ardour</application> "
+"ã§ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’æ“作ã™ã‚‹ã“ã¨ã«ã¤ã„ã¦å¤šãã‚’å¦ã¶ã§ã—ょã†ã€‚以下ã¯ã€ãŸã‚ã«ãªã‚‹ãƒ’ントã§ã™ï¼š"
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr "ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’見るã«ã¯ã€ãƒžã‚¦ã‚¹ã®ã‚¹ã‚¯ãƒãƒ¼ãƒ«ãƒ›ã‚¤ãƒ¼ãƒ«ï¼ˆãã‚ŒãŒã‚ã‚Œã°ï¼‰ã‚’使ã£ã¦ã€åž‚ç›´ã«ã‚¹ã‚¯ãƒãƒ¼ãƒ«ã—ã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
-msgstr "ã‚ーボードã§ã€ 'Ctrl' ボタンを押ã—ãŸã¾ã¾ã«ã—ã¦ã€ãƒžã‚¦ã‚¹ã®ã‚¹ã‚¯ãƒãƒ¼ãƒ«ãƒ›ã‚¤ãƒ¼ãƒ«ã‚’使ãˆã°ã€ã‚ャンãƒã‚¹ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã§è¦‹ã‚‹ã“ã¨ã®ã§ãる時間を調整ã§ãã¾ã™ã€‚"
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
+msgstr ""
+"ã‚ーボードã§ã€ 'Ctrl' ボタンを押ã—ãŸã¾ã¾ã«ã—ã¦ã€ãƒžã‚¦ã‚¹ã®ã‚¹ã‚¯ãƒãƒ¼ãƒ«ãƒ›ã‚¤ãƒ¼ãƒ«ã‚’使ãˆã°ã€ã‚ャンãƒã‚¹ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã§è¦‹ã‚‹ã“ã¨ã®ã§ãる時間を調整ã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr "ã‚ーボード㧠'Alt' ボタンを押ã—ãŸã¾ã¾ã«ã—ã¦ã€ãƒžã‚¦ã‚¹ã®ã‚¹ã‚¯ãƒãƒ¼ãƒ«ãƒ›ã‚¤ãƒ¼ãƒ«ã‚’使ãˆã°ã€æ¨ªã«ã‚¹ã‚¯ãƒãƒ¼ãƒ«ã—ã¦ã€ã‚¿ã‚¤ãƒ ラインを移動ã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
-msgstr "リージョンを置ã„ãŸå¾Œã‚‚ã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®ä¸ã§ãれをã©ã“ã¸ã§ã‚‚å‹•ã‹ã™ã“ã¨ãŒã§ãã¾ã™ã€‚\"Select/Move Objects\" ツールを使ã£ã¦ãã ã•ã„。トランスãƒãƒ¼ãƒˆã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã®ä¸‹ã€ãƒ„ールãƒãƒ¼ã®ä¸ã§ã€æŒ‡ã•ã™æ‰‹ã®ã‚¢ã‚¤ã‚³ãƒ³ã‚’クリックã—ã¾ã™ã€‚"
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
+msgstr ""
+"リージョンを置ã„ãŸå¾Œã‚‚ã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®ä¸ã§ãれをã©ã“ã¸ã§ã‚‚å‹•ã‹ã™ã“ã¨ãŒã§ãã¾ã™ã€‚\"Select/Move Objects\" "
+"ツールを使ã£ã¦ãã ã•ã„。トランスãƒãƒ¼ãƒˆã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã®ä¸‹ã€ãƒ„ールãƒãƒ¼ã®ä¸ã§ã€æŒ‡ã•ã™æ‰‹ã®ã‚¢ã‚¤ã‚³ãƒ³ã‚’クリックã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
-msgstr "リージョンを動ã‹ã™ã¨ãã¯ã€è‰²ã®ã¤ã„ãŸãƒãƒ¼ã®ä¸Šã®å¤§ããªã‚¨ãƒªã‚¢ã‚’クリックã—ã¦ãƒ‰ãƒ©ãƒƒã‚°ã™ã‚‹ã‚ˆã†ã«æ³¨æ„ãã ã•ã„。リージョンã®ä¸‹ã®æ–¹ã®è‰²ã®ã¤ã„ãŸãƒãƒ¼ã‚’クリックã™ã‚‹ã¨ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®å¤§ãã•ã‚’çŸãã—ã¦ã—ã¾ã„ã¾ã™ã€‚"
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
+msgstr ""
+"リージョンを動ã‹ã™ã¨ãã¯ã€è‰²ã®ã¤ã„ãŸãƒãƒ¼ã®ä¸Šã®å¤§ããªã‚¨ãƒªã‚¢ã‚’クリックã—ã¦ãƒ‰ãƒ©ãƒƒã‚°ã™ã‚‹ã‚ˆã†ã«æ³¨æ„ãã ã•ã„。リージョンã®ä¸‹ã®æ–¹ã®è‰²ã®ã¤ã„ãŸãƒãƒ¼ã‚’クリックã™ã‚‹ã¨ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®å¤§ãã•ã‚’çŸãã—ã¦ã—ã¾ã„ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
-msgstr "ã“ã®ã‚ˆã†ã«ãƒˆãƒ©ãƒƒã‚¯ã‚’è¿½åŠ ã—ã¦ã„ã‚‹ã¨ãã¯ã€ãれらãŒå®Œå…¨ã«åŒæœŸã•ã‚Œã¦ã„ã‚‹ã“ã¨ã¯é‡è¦ã§ã¯ã‚ã‚Šã¾ã›ã‚“。ã—ã‹ã—ã€ãƒˆãƒ©ãƒƒã‚¯ã®é–‹å§‹ã‚’ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã«è‡ªå‹•çš„ã«ãã‚ãˆã‚‹ \"magnetic\" スナップ機能を使ã†ã“ã¨ã‚‚ã§ãã¾ã™ã€‚リージョンをゆã£ãりドラッグã™ã‚‹ã¨ã€é–‹å§‹ç‚¹ãŒä»–ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«è¿‘ã¥ãã¨ã€ï¼ˆã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®åž‚ç›´ç·šã§ç¤ºã•ã‚Œã¾ã™ï¼‰ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ãれ㫠\"stick\" ãã£ã¤ãã€ã‚ˆã†ã«è¦‹ãˆã¾ã™ã€‚終ã‚ã£ãŸã‚‰ã€ãã®æ©Ÿèƒ½ã‚’無効ã«ã—ã¾ã™ã€‚"
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
+msgstr ""
+"ã“ã®ã‚ˆã†ã«ãƒˆãƒ©ãƒƒã‚¯ã‚’è¿½åŠ ã—ã¦ã„ã‚‹ã¨ãã¯ã€ãれらãŒå®Œå…¨ã«åŒæœŸã•ã‚Œã¦ã„ã‚‹ã“ã¨ã¯é‡è¦ã§ã¯ã‚ã‚Šã¾ã›ã‚“。ã—ã‹ã—ã€ãƒˆãƒ©ãƒƒã‚¯ã®é–‹å§‹ã‚’ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã«è‡ªå‹•çš„ã«ãã‚ãˆã‚‹ "
+"\"magnetic\" "
+"スナップ機能を使ã†ã“ã¨ã‚‚ã§ãã¾ã™ã€‚リージョンをゆã£ãりドラッグã™ã‚‹ã¨ã€é–‹å§‹ç‚¹ãŒä»–ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«è¿‘ã¥ãã¨ã€ï¼ˆã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®åž‚ç›´ç·šã§ç¤ºã•ã‚Œã¾ã™ï¼‰ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ãã‚Œã«"
+" \"stick\" ãã£ã¤ãã€ã‚ˆã†ã«è¦‹ãˆã¾ã™ã€‚終ã‚ã£ãŸã‚‰ã€ãã®æ©Ÿèƒ½ã‚’無効ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr "ã¨ã‚Šã‚ãˆãšã€ä»Šã¯ä¸æ£ç¢ºã§ã‚‚よã„ã®ã§ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’é©å½“ãªãƒˆãƒ©ãƒƒã‚¯ã«ã€ã§ãã‚‹ã ã‘ã¤ã‚ã¦ã€ã‚ªãƒ¼ãƒãƒ©ãƒƒãƒ—ã—ãªã„よã†ã«å…¥ã‚Œã¾ã™ã€‚"
#. Tag: title
@@ -1516,8 +2311,14 @@ msgstr "リージョンã®å¤§ãã•ã‚’切り詰ã‚ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
-msgstr "ã•ã¦ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®å¤§ãã•ã‚’切り詰ã‚る準備ãŒã§ãã¾ã—ãŸã€‚本æ¥éŒ²éŸ³å¯¾è±¡ã¨ã—ãŸéƒ¨åˆ†ã®å‰ã¨å¾Œã«ã‚ã‚‹ã€ã»ã¨ã‚“ã©é™ã‹ãªã‚¹ãƒšãƒ¼ã‚¹ã‚’削除ã™ã—ã¾ã™ã€‚特別ケースãŒã„ãã¤ã‹ã‚ã‚‹ã®ã§ã€ã¾ãšã€æœ€åˆã«ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«ã“れを行ã†ãŸã‚ã®ä¸€èˆ¬çš„ãªèª¬æ˜Žã‚’ã—ã¾ã™ã€‚ã¤ãŽã«ã€ãã‚Œãžã‚Œã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«ã¤ã„ã¦ã€å…·ä½“çš„ãªèª¬æ˜Žã‚’ã—ã¾ã™ã€‚"
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
+msgstr ""
+"ã•ã¦ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®å¤§ãã•ã‚’切り詰ã‚る準備ãŒã§ãã¾ã—ãŸã€‚本æ¥éŒ²éŸ³å¯¾è±¡ã¨ã—ãŸéƒ¨åˆ†ã®å‰ã¨å¾Œã«ã‚ã‚‹ã€ã»ã¨ã‚“ã©é™ã‹ãªã‚¹ãƒšãƒ¼ã‚¹ã‚’削除ã™ã—ã¾ã™ã€‚特別ケースãŒã„ãã¤ã‹ã‚ã‚‹ã®ã§ã€ã¾ãšã€æœ€åˆã«ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«ã“れを行ã†ãŸã‚ã®ä¸€èˆ¬çš„ãªèª¬æ˜Žã‚’ã—ã¾ã™ã€‚ã¤ãŽã«ã€ãã‚Œãžã‚Œã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«ã¤ã„ã¦ã€å…·ä½“çš„ãªèª¬æ˜Žã‚’ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -1526,63 +2327,140 @@ msgstr "クラリãƒãƒƒãƒˆã‹ã‚‰å§‹ã‚ã¾ã—ょã†ï¼š"
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
-msgstr "ã¾ãšã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãƒã‚¹ã‚’ \"solo\" モードã«ã—ã¾ã™ã€‚ãƒã‚¹ã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã‚¹ãƒšãƒ¼ã‚¹ã§ã€ 's' ボタンを押ã—ã¦ãã ã•ã„。ã“ã‚Œã§ã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãƒã‚¹ã ã‘ãŒèžã“ãˆã‚‹ã‚ˆã†ã«ãªã‚Šã¾ã™ã€‚"
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
+msgstr ""
+"ã¾ãšã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãƒã‚¹ã‚’ \"solo\" モードã«ã—ã¾ã™ã€‚ãƒã‚¹ã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã‚¹ãƒšãƒ¼ã‚¹ã§ã€ 's' "
+"ボタンを押ã—ã¦ãã ã•ã„。ã“ã‚Œã§ã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãƒã‚¹ã ã‘ãŒèžã“ãˆã‚‹ã‚ˆã†ã«ãªã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
-msgstr "最åˆã®ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’èžãã¾ã™ã€‚ã‚ーボード㧠\"Home\" を押ã—ã¦ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã®å†ç”Ÿãƒ˜ãƒƒãƒ‰ã‚’最åˆã«ä½ç½®ã¥ã‘ã€ã‚¹ãƒšãƒ¼ã‚¹ã‚ーを押ã—ã¦ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚’開始ã—ã¾ã™ã€‚"
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
+msgstr ""
+"最åˆã®ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’èžãã¾ã™ã€‚ã‚ーボード㧠\"Home\" "
+"を押ã—ã¦ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã®å†ç”Ÿãƒ˜ãƒƒãƒ‰ã‚’最åˆã«ä½ç½®ã¥ã‘ã€ã‚¹ãƒšãƒ¼ã‚¹ã‚ーを押ã—ã¦ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚’開始ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
-msgstr "クラリãƒãƒƒãƒˆãŒæ¼”å¥ã‚’始ã‚ã‚‹å‰ã«ã€ï¼’ï¼ç§’ãらã„ã®ã»ã¨ã‚“ã©é™ã‹ãªéƒ¨åˆ†ãŒã‚ã‚Šã¾ã™ã€‚注æ„ã—ã¦èžãã¨ã€éƒ¨å±‹ã®éŸ³ã‚„ã€èª°ã‹ãŒå°ç¯€æ•°ã‚’æ•°ãˆã¦ã„る声ãŒèžã“ãˆã¾ã™ã€‚"
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
+msgstr ""
+"クラリãƒãƒƒãƒˆãŒæ¼”å¥ã‚’始ã‚ã‚‹å‰ã«ã€ï¼’ï¼ç§’ãらã„ã®ã»ã¨ã‚“ã©é™ã‹ãªéƒ¨åˆ†ãŒã‚ã‚Šã¾ã™ã€‚注æ„ã—ã¦èžãã¨ã€éƒ¨å±‹ã®éŸ³ã‚„ã€èª°ã‹ãŒå°ç¯€æ•°ã‚’æ•°ãˆã¦ã„る声ãŒèžã“ãˆã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
-msgstr "ãƒãƒ£ãƒãƒ«ãŒåŒæœŸã—ã¦ã„ãªã„ã¨ãã«ã¯ã€ã‚¿ã‚¤ãƒ ラインã®ä¸Šã§ä½ç½®ã‚’調整ã™ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚リージョンをドラッグã™ã‚‹ã¨ãã«ç¾ã‚Œã‚‹é»„色ã„時計を使ã„ã¾ã™ã€‚ãã‚Œã¯ã€ï¼’ã¤ã‚ã®æ™‚計ã¨åŒã˜å˜ä½ã«è¨å®šã•ã‚Œã¦ã„ã¦ã€ãƒ•ã‚¡ã‚¤ãƒ«ã®æœ€åˆã‹ã‚‰ã®æ™‚間を示ã—ã¾ã™ã€‚次ã®ã‚¹ãƒ†ãƒƒãƒ—ã«é€²ã‚€å‰ã«ã€åŒæœŸã•ã›ã‚‹ã®ãŒé‡è¦ã§ã™ï¼"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
+msgstr ""
+"ãƒãƒ£ãƒãƒ«ãŒåŒæœŸã—ã¦ã„ãªã„ã¨ãã«ã¯ã€ã‚¿ã‚¤ãƒ ラインã®ä¸Šã§ä½ç½®ã‚’調整ã™ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚リージョンをドラッグã™ã‚‹ã¨ãã«ç¾ã‚Œã‚‹é»„色ã„時計を使ã„ã¾ã™ã€‚ãã‚Œã¯ã€ï¼’ã¤ã‚ã®æ™‚計ã¨åŒã˜å˜ä½ã«è¨å®šã•ã‚Œã¦ã„ã¦ã€ãƒ•ã‚¡ã‚¤ãƒ«ã®æœ€åˆã‹ã‚‰ã®æ™‚間を示ã—ã¾ã™ã€‚次ã®ã‚¹ãƒ†ãƒƒãƒ—ã«é€²ã‚€å‰ã«ã€åŒæœŸã•ã›ã‚‹ã®ãŒé‡è¦ã§ã™ï¼"
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
-msgstr "\"L\" ã‚ã‚‹ã„㯠\"R\" リージョンをé¸æŠžã—ã¾ã™ã€‚エディットグループを使ã£ã¦ã„ã‚‹ã¨ãã¯ã€ã©ã¡ã‚‰ã‚’é¸æŠžã—ã¦ã‚‚ã‹ã¾ã„ã¾ã›ã‚“。<application>Ardour</application> 㯠２ã¤ã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒã€\"group equivalent\" åŒã˜ã‚°ãƒ«ãƒ¼ãƒ—ã€ã§ã‚ã‚‹ã“ã¨ã‚’知ã£ã¦ã„ã‚‹ã‹ã‚‰ã§ã™ã€‚（ã¤ã¾ã‚Šã€ãれらã¯åŸºæœ¬çš„ã«ã¯åŒã˜ã‚‚ã®ã§ã€ãŸã¶ã‚“ã€åŒã˜æ‰€ã«å±žã™ã‚‹ã¯ãšã ã¨ï¼‰"
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
+msgstr ""
+"\"L\" ã‚ã‚‹ã„㯠\"R\" "
+"リージョンをé¸æŠžã—ã¾ã™ã€‚エディットグループを使ã£ã¦ã„ã‚‹ã¨ãã¯ã€ã©ã¡ã‚‰ã‚’é¸æŠžã—ã¦ã‚‚ã‹ã¾ã„ã¾ã›ã‚“。<application>Ardour</application>"
+" 㯠２ã¤ã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒã€\"group equivalent\" "
+"åŒã˜ã‚°ãƒ«ãƒ¼ãƒ—ã€ã§ã‚ã‚‹ã“ã¨ã‚’知ã£ã¦ã„ã‚‹ã‹ã‚‰ã§ã™ã€‚（ã¤ã¾ã‚Šã€ãれらã¯åŸºæœ¬çš„ã«ã¯åŒã˜ã‚‚ã®ã§ã€ãŸã¶ã‚“ã€åŒã˜æ‰€ã«å±žã™ã‚‹ã¯ãšã ã¨ï¼‰"
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr "クラリãƒãƒƒãƒˆãŒé–‹å§‹ã™ã‚‹ç‚¹ã®è¿‘ãã®ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®è‰²ã®ã¤ã„ãŸãƒãƒ¼ã‚’マウスã§ã‚¯ãƒªãƒƒã‚¯ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
-msgstr "<application>Ardour</application> ã¯ã€ <emphasis>両方ã®ãƒˆãƒ©ãƒƒã‚¯</emphasis>ã§è‡ªå‹•çš„ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–‹å§‹ç‚¹ã‚’移動ã—ã¾ã™ã€‚"
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
+msgstr ""
+"<application>Ardour</application> ã¯ã€ "
+"<emphasis>両方ã®ãƒˆãƒ©ãƒƒã‚¯</emphasis>ã§è‡ªå‹•çš„ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–‹å§‹ç‚¹ã‚’移動ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
-msgstr "å†ç”Ÿãƒ˜ãƒƒãƒ‰ã‚’ä½ç½®ã¥ã‘ãŸã„å…ˆã®ç‚¹ã®ãƒ«ãƒ¼ãƒ©ãƒ¼ã‚’クリックã—ã¦ã€å†ç”Ÿãƒ˜ãƒƒãƒ‰ã‚’å‹•ã‹ã—ã€é‡è¦ãªã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’切りå–ã£ãŸã‚Šã—ãªã„よã†ã«ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®éƒ¨åˆ†ã‚’よãèžã„ã¦ã¿ã¾ã™ã€‚"
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
+msgstr ""
+"å†ç”Ÿãƒ˜ãƒƒãƒ‰ã‚’ä½ç½®ã¥ã‘ãŸã„å…ˆã®ç‚¹ã®ãƒ«ãƒ¼ãƒ©ãƒ¼ã‚’クリックã—ã¦ã€å†ç”Ÿãƒ˜ãƒƒãƒ‰ã‚’å‹•ã‹ã—ã€é‡è¦ãªã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’切りå–ã£ãŸã‚Šã—ãªã„よã†ã«ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®éƒ¨åˆ†ã‚’よãèžã„ã¦ã¿ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
-msgstr "リージョンã®é–‹å§‹ç‚¹ã‚’変更ã™ã‚‹ã«ã¯ã€æ³¨æ„æ·±ãマウスカーソルをリージョンã®é–‹å§‹ç‚¹ã®è‰²ã®ã¤ã„ãŸãƒãƒ¼ã«ç§»å‹•ã—ã¾ã™ã€‚カーソルã¯ã€å·¦å³ã®ä¸¡å´ã«çŸ¢å°ã®ã¤ã„ãŸå½¢ã«å¤‰ã‚ã‚Šã¾ã™ã€‚é–“é•ã£ã¦å¤§åˆ‡ãªã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã®ã‚µã‚¦ãƒ³ãƒ‰ã®ä¸€éƒ¨ã‚’削除ã—ã¦ã—ã¾ã£ã¦ã‚‚ã€ãã‚Œã¯ãã®ã¾ã¾ã ã¨ã‚ã‹ã‚‹ã§ã—ょã†ã€‚実際ã€ã“ã®ã‚ˆã†ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’トリミングã™ã‚‹ã†ãˆã§ã®ã‚ã‚ŠãŒãŸã„ã“ã¨ã¯ã€ãã‚ŒãŒã€Œéžç ´å£Šçš„ã€ã¤ã¾ã‚Šã€å®Œå…¨ãªã‚ªãƒªã‚¸ãƒŠãƒ«ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒãã®ã¾ã¾ã‚ã‚‹ã“ã¨ã§ã™ã€‚"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
+msgstr ""
+"リージョンã®é–‹å§‹ç‚¹ã‚’変更ã™ã‚‹ã«ã¯ã€æ³¨æ„æ·±ãマウスカーソルをリージョンã®é–‹å§‹ç‚¹ã®è‰²ã®ã¤ã„ãŸãƒãƒ¼ã«ç§»å‹•ã—ã¾ã™ã€‚カーソルã¯ã€å·¦å³ã®ä¸¡å´ã«çŸ¢å°ã®ã¤ã„ãŸå½¢ã«å¤‰ã‚ã‚Šã¾ã™ã€‚é–“é•ã£ã¦å¤§åˆ‡ãªã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã®ã‚µã‚¦ãƒ³ãƒ‰ã®ä¸€éƒ¨ã‚’削除ã—ã¦ã—ã¾ã£ã¦ã‚‚ã€ãã‚Œã¯ãã®ã¾ã¾ã ã¨ã‚ã‹ã‚‹ã§ã—ょã†ã€‚実際ã€ã“ã®ã‚ˆã†ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’トリミングã™ã‚‹ã†ãˆã§ã®ã‚ã‚ŠãŒãŸã„ã“ã¨ã¯ã€ãã‚ŒãŒã€Œéžç ´å£Šçš„ã€ã¤ã¾ã‚Šã€å®Œå…¨ãªã‚ªãƒªã‚¸ãƒŠãƒ«ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒãã®ã¾ã¾ã‚ã‚‹ã“ã¨ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
-msgstr "最åˆã®å¤‰æ›´ã‚’ã—ãŸæ™‚ã€<application>Ardour</application> ã¯ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚µã‚¤ãƒ‰ãƒãƒ¼ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã«ã‚るリージョンåã®éš£ã«ã€çŸ¢å°ã‚’ã¤ã‘ãŸã“ã¨ã«æ³¨æ„ãã ã•ã„。ãã®çŸ¢å°ã‚’クリックã™ã‚‹ã¨ã€ä¸‹ã«ã€åŒã˜ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ã‚‚ã†ã²ã¨ã¤ã®ã€ç™½è‰²ã®ã‚³ãƒ”ーãŒã‚ã‚‹ã“ã¨ãŒã‚ã‹ã‚Šã¾ã™ã€‚<application>Ardour</application> ã¯ã€ç™½è‰²ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€é’ã„リージョンã®å¤‰æ›´ã ã¨ã„ã†ã“ã¨ã‚’示ã—ã¾ã™ã€‚白ã„リージョンをã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã«ãƒ‰ãƒ©ãƒƒã‚°ã™ã‚‹ã¨ã€ã‚ãªãŸãŒå¤‰æ›´ã—ãŸãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¨åŒã˜æ‰€ã‹ã‚‰é–‹å§‹ã™ã‚‹ã®ãŒã‚ã‹ã‚Šã¾ã™ã€‚å…ƒã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¨åŒã˜å¤§ãã•ã«å¼•ã伸ã°ã™ã“ã¨ã‚‚ã§ãã€ãã†ã™ã‚‹ã¨ã‚ªãƒªã‚¸ãƒŠãƒ«ã®ã‚‚ã†ã²ã¨ã¤ã®å¤‰æ›´ã•ã‚ŒãŸãƒãƒ¼ã‚¸ãƒ§ãƒ³ãŒä½œã‚‰ã‚Œã¾ã™ã€‚<application>Ardour</application> ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®è¤‡æ•°ã®ã‚³ãƒ”ーをä¿å˜ã—ã¦ã„るよã†ã«è¦‹ãˆã¾ã™ãŒã€å®Ÿéš›ã«ã¯ï¼‘ã¤
ã ã‘ã‚’ä¿å˜ã—ã¦ãŠã‚Šã€ãŸãã•ã‚“ã‚るよã†ã«è¦‹ãˆã‚‹ãŸã‚ã«å¿…è¦ãªæƒ…å ±ã‚’åˆ¥ã«ä¿å˜ã—ã¦ã„ã‚‹ã®ã§ã™ã€‚"
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
+msgstr ""
+"最åˆã®å¤‰æ›´ã‚’ã—ãŸæ™‚ã€<application>Ardour</application> "
+"ã¯ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚µã‚¤ãƒ‰ãƒãƒ¼ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã«ã‚るリージョンåã®éš£ã«ã€çŸ¢å°ã‚’ã¤ã‘ãŸã“ã¨ã«æ³¨æ„ãã ã•ã„。ãã®çŸ¢å°ã‚’クリックã™ã‚‹ã¨ã€ä¸‹ã«ã€åŒã˜ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ã‚‚ã†ã²ã¨ã¤ã®ã€ç™½è‰²ã®ã‚³ãƒ”ーãŒã‚ã‚‹ã“ã¨ãŒã‚ã‹ã‚Šã¾ã™ã€‚<application>Ardour</application>"
+" "
+"ã¯ã€ç™½è‰²ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€é’ã„リージョンã®å¤‰æ›´ã ã¨ã„ã†ã“ã¨ã‚’示ã—ã¾ã™ã€‚白ã„リージョンをã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã«ãƒ‰ãƒ©ãƒƒã‚°ã™ã‚‹ã¨ã€ã‚ãªãŸãŒå¤‰æ›´ã—ãŸãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¨åŒã˜æ‰€ã‹ã‚‰é–‹å§‹ã™ã‚‹ã®ãŒã‚ã‹ã‚Šã¾ã™ã€‚å…ƒã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¨åŒã˜å¤§ãã•ã«å¼•ã伸ã°ã™ã“ã¨ã‚‚ã§ãã€ãã†ã™ã‚‹ã¨ã‚ªãƒªã‚¸ãƒŠãƒ«ã®ã‚‚ã†ã²ã¨ã¤ã®å¤‰æ›´ã•ã‚ŒãŸãƒãƒ¼ã‚¸ãƒ§ãƒ³ãŒä½œã‚‰ã‚Œã¾ã™ã€‚<application>Ardour</application>"
+" "
+"ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®è¤‡æ•°ã®ã‚³ãƒ”ーをä¿å˜ã—ã¦ã„るよã†ã«è¦‹ãˆã¾ã™ãŒã€å®Ÿéš›ã«ã¯ï¼‘ã¤ã ã‘ã‚’ä¿å˜ã—ã¦ãŠã‚Šã€ãŸãã•ã‚“ã‚るよã†ã«è¦‹ãˆã‚‹ãŸã‚ã«å¿…è¦ãªæƒ…å ±ã‚’åˆ¥ã«ä¿å˜ã—ã¦ã„ã‚‹ã®ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
-msgstr "リージョンã®çµ‚点を変更ã—ã¦ã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã®å¾Œã®é•·ã™ãŽã‚‹é™å¯‚ã‚’å–り除ãã¾ã™ã€‚ã“ã®ã¨ãã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã‚’切りå–ã£ã¦ã—ã¾ã‚ãªã„よã†ã«ç‰¹åˆ¥ã«æ³¨æ„ã—ã¦ãã ã•ã„。クラリãƒãƒƒãƒˆã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚ã‚ã‚Šã§ã¯ã¨ã¦ã‚‚å°ã•ã„音ã«ãªã‚Šã¾ã™ã€‚切りå–ã‚‹ã‚‚ã®ã¯ãã‚Œã»ã©ã‚ã‚Šã¾ã›ã‚“ï¼ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚点を変更ã™ã‚‹ã¨ãã€è‰²ã®ã¤ã„ãŸãƒãƒ¼ã‚’クリックã™ã‚‹ã“ã¨ã¯ã§ããªã„ã“ã¨ã«æ³¨æ„ã—ã¦ãã ã•ã„。クリックアンドドラッグã—ãªã„ã¨ã„ã‘ã¾ã›ã‚“。"
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
+msgstr ""
+"リージョンã®çµ‚点を変更ã—ã¦ã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã®å¾Œã®é•·ã™ãŽã‚‹é™å¯‚ã‚’å–り除ãã¾ã™ã€‚ã“ã®ã¨ãã€ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã‚’切りå–ã£ã¦ã—ã¾ã‚ãªã„よã†ã«ç‰¹åˆ¥ã«æ³¨æ„ã—ã¦ãã ã•ã„。クラリãƒãƒƒãƒˆã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚ã‚ã‚Šã§ã¯ã¨ã¦ã‚‚å°ã•ã„音ã«ãªã‚Šã¾ã™ã€‚切りå–ã‚‹ã‚‚ã®ã¯ãã‚Œã»ã©ã‚ã‚Šã¾ã›ã‚“ï¼ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚点を変更ã™ã‚‹ã¨ãã€è‰²ã®ã¤ã„ãŸãƒãƒ¼ã‚’クリックã™ã‚‹ã“ã¨ã¯ã§ããªã„ã“ã¨ã«æ³¨æ„ã—ã¦ãã ã•ã„。クリックアンドドラッグã—ãªã„ã¨ã„ã‘ã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
-msgstr "以下ã¯ã€ãã®ä»–ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’編集ã™ã‚‹ãŸã‚ã®æŒ‡ç¤ºã§ã™ã€‚リージョンを切り詰ã‚ã‚‹ã¨ãã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®æœ€åˆã«å‘ã‘ã¦ç§»å‹•ã•ã›ã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚別ã®ãƒˆãƒ©ãƒƒã‚¯ã«è¡Œã時ã«ã¯ã€ã€Œã‚½ãƒãƒ¢ãƒ¼ãƒ‰ã€ã«ã‚ã‚‹ãƒã‚¹ã‚’変更ã™ã‚‹ã®ã‚’忘れãªã„ã§ãã ã•ã„。ã•ã‚‚ãªã„ã¨ã€ç·¨é›†ã—よã†ã¨ã™ã‚‹ãƒˆãƒ©ãƒƒã‚¯ã‚’èžãã“ã¨ãŒã§ãã¾ã›ã‚“。ã¾ãŸã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ã„ãã¤ã‹ã«ã¯ã€åŒã˜ã‹ã€ã»ã¨ã‚“ã©åŒã˜éŸ³æ¥½ãŒå…¥ã£ã¦ã„ã‚‹ã“ã¨ã«æ°—ãŒã¤ãã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ãã‚Œã«ã¤ã„ã¦ã¯ã€å¾Œã§èª¬æ˜Žã—ã¾ã™ã€‚"
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
+msgstr ""
+"以下ã¯ã€ãã®ä»–ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’編集ã™ã‚‹ãŸã‚ã®æŒ‡ç¤ºã§ã™ã€‚リージョンを切り詰ã‚ã‚‹ã¨ãã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®æœ€åˆã«å‘ã‘ã¦ç§»å‹•ã•ã›ã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚別ã®ãƒˆãƒ©ãƒƒã‚¯ã«è¡Œã時ã«ã¯ã€ã€Œã‚½ãƒãƒ¢ãƒ¼ãƒ‰ã€ã«ã‚ã‚‹ãƒã‚¹ã‚’変更ã™ã‚‹ã®ã‚’忘れãªã„ã§ãã ã•ã„。ã•ã‚‚ãªã„ã¨ã€ç·¨é›†ã—よã†ã¨ã™ã‚‹ãƒˆãƒ©ãƒƒã‚¯ã‚’èžãã“ã¨ãŒã§ãã¾ã›ã‚“。ã¾ãŸã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ã„ãã¤ã‹ã«ã¯ã€åŒã˜ã‹ã€ã»ã¨ã‚“ã©åŒã˜éŸ³æ¥½ãŒå…¥ã£ã¦ã„ã‚‹ã“ã¨ã«æ°—ãŒã¤ãã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ãã‚Œã«ã¤ã„ã¦ã¯ã€å¾Œã§èª¬æ˜Žã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -1596,7 +2474,9 @@ msgstr "Clarinet_2:"
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr "開始時ã«éŸ³ãŒå…¥ã‚Šã¾ã™ãŒã€ä¸è¦ã§ã™ã€‚削除ã—ã¾ã™ã€‚ãã®å¾Œã®é™å¯‚ã‚‚å«ã‚ã¦ã€‚"
#. Tag: para
@@ -1606,7 +2486,9 @@ msgstr "終点ã«ã¯é•·ã„é™å¯‚ãŒã‚ã‚Šã¾ã™ã‹ã‚‰ã€å‰Šé™¤ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr "Clarinet_3, Clarinet_4: 最åˆã¨æœ€å¾Œã®é™å¯‚ã¯å‰Šé™¤ã—ã¾ã™ãŒã€é€”ä¸ã®é™å¯‚ã¯æ®‹ã—ã¦ãã ã•ã„。"
#. Tag: para
@@ -1616,12 +2498,19 @@ msgstr "Strings:"
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
-msgstr "Strings_1: 開始時ã«ã¶ã¤ã¶ã¤ã„ã†ãƒŽã‚¤ã‚ºãŒå…¥ã‚Šã¾ã™ã€‚ãã®ã¾ã¾ã«ã—ã¦ã‚‚ã€å‰Šé™¤ã—ã¦ã‚‚よã„ã§ã™ã€‚Esther ã¯ãã®ã¾ã¾ã«ã™ã‚‹æ–¹ã‚’é¸ã‚“ã ã®ã§ã€ç§ã‚‚ãã†ã—ã¾ã—ょã†ã€‚"
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
+msgstr ""
+"Strings_1: 開始時ã«ã¶ã¤ã¶ã¤ã„ã†ãƒŽã‚¤ã‚ºãŒå…¥ã‚Šã¾ã™ã€‚ãã®ã¾ã¾ã«ã—ã¦ã‚‚ã€å‰Šé™¤ã—ã¦ã‚‚よã„ã§ã™ã€‚Esther "
+"ã¯ãã®ã¾ã¾ã«ã™ã‚‹æ–¹ã‚’é¸ã‚“ã ã®ã§ã€ç§ã‚‚ãã†ã—ã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr "Strings_2, 3, 4: 開始時ã«é™å¯‚ã€çµ‚了時ã«ã¯ã»ã‚“ã®å°‘ã—。会話ã¯å‰Šé™¤ã—ã¦ã‚‚ã€å¾Œã§å¯¾ç–ã—ã¦ã‚‚よã„ã§ã™ã€‚"
#. Tag: para
@@ -1631,17 +2520,26 @@ msgstr "Voice:"
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr "Voice_1, 2, 3, 4: 最åˆã¨æœ€å¾Œã®é™å¯‚ã‚’å˜ç´”ã«é™¤ãã¾ã™ã€‚失敗ã¯ãã®ã¾ã¾ã«ã—ã¦ãŠãã¾ã™ã€‚後ã§ã€å¯¾ç–ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
-msgstr "ens-Here_Is_How-1, 2, 3: 今ã®ã¨ã“ã‚ã€ã™ã¹ã¦ã®ä½™åˆ†ãªãƒŽã‚¤ã‚ºã‚’除ãã®ã¯å¤§å¤‰ã‚€ã¤ã‹ã—ã„ãŸã‚ã€ãã®ã¾ã¾ã¨ã—ã¾ã™ã€‚breating 㨠shuffling ã¯å¾Œã§å‰Šé™¤ã§ãã¾ã™ã€‚訳注：breath, snuff æ¯ã¨é¼»ã‚’ã‹ã‚€éŸ³ï¼Ÿ"
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
+msgstr ""
+"ens-Here_Is_How-1, 2, 3: 今ã®ã¨ã“ã‚ã€ã™ã¹ã¦ã®ä½™åˆ†ãªãƒŽã‚¤ã‚ºã‚’除ãã®ã¯å¤§å¤‰ã‚€ã¤ã‹ã—ã„ãŸã‚ã€ãã®ã¾ã¾ã¨ã—ã¾ã™ã€‚breating 㨠"
+"shuffling ã¯å¾Œã§å‰Šé™¤ã§ãã¾ã™ã€‚訳注：breath, snuff æ¯ã¨é¼»ã‚’ã‹ã‚€éŸ³ï¼Ÿ"
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr "ens-Create_the_Inconceivable: ã¨ã‚Šã‚ãˆãšã€ä¸¡æ–¹ã®ãƒ†ã‚¤ã‚¯ã‚’ãã®ã¾ã¾ã¨ã—ã¾ã™ã€‚後ã§ã€ã©ã£ã¡ã‚’採用ã™ã‚‹ã‹æ±ºã‚ã¾ã™ã€‚"
#. Tag: para
@@ -1651,17 +2549,30 @@ msgstr "Marimba:"
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
-msgstr "Marimba_1: ã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®æœ€åˆã‚’切り詰ã‚ãªã„ã§ãã ã•ã„。セッションã®é–‹å§‹æ™‚刻ã¨ã—ã¦ä½¿ã„ã¾ã™ã€‚終端ã®é™å¯‚を削除ã—ã¦ã‚‚よã„ã§ã™ãŒã€ãƒžãƒªãƒ³ãƒãŒã¾ã é³´ã£ã¦ã„ã‚‹ã¨ãã«åˆ‡ã‚Šå–ã£ã¦ã—ã¾ã‚ãªã„よã†ã«æ³¨æ„ã—ã¦ãã ã•ã„。"
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
+msgstr ""
+"Marimba_1: "
+"ã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®æœ€åˆã‚’切り詰ã‚ãªã„ã§ãã ã•ã„。セッションã®é–‹å§‹æ™‚刻ã¨ã—ã¦ä½¿ã„ã¾ã™ã€‚終端ã®é™å¯‚を削除ã—ã¦ã‚‚よã„ã§ã™ãŒã€ãƒžãƒªãƒ³ãƒãŒã¾ã é³´ã£ã¦ã„ã‚‹ã¨ãã«åˆ‡ã‚Šå–ã£ã¦ã—ã¾ã‚ãªã„よã†ã«æ³¨æ„ã—ã¦ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
-msgstr "Marimba_2, 3, 4, 5, 6, 7: ã¾ã‚ã‚Šã®é™å¯‚を削除ã—ã¦ã‚‚よã„ã§ã™ã€‚マリンãƒãŒã¾ã é³´ã£ã¦ã„ã‚‹ã¨ãã«åˆ‡ã‚Šå–ã£ã¦ã—ã¾ã‚ãªã„よã†ã«æ³¨æ„ã—ã¦ãã ã•ã„。ボリュームを上ã’ã¦ã‚ˆãèžãå¿…è¦ãŒã‚ã‚‹ã§ã—ょã†ã€‚"
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
+msgstr ""
+"Marimba_2, 3, 4, 5, 6, 7: "
+"ã¾ã‚ã‚Šã®é™å¯‚を削除ã—ã¦ã‚‚よã„ã§ã™ã€‚マリンãƒãŒã¾ã é³´ã£ã¦ã„ã‚‹ã¨ãã«åˆ‡ã‚Šå–ã£ã¦ã—ã¾ã‚ãªã„よã†ã«æ³¨æ„ã—ã¦ãã ã•ã„。ボリュームを上ã’ã¦ã‚ˆãèžãå¿…è¦ãŒã‚ã‚‹ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr "ã•ã¦ã€æœ¬å½“ã«å¿…è¦ãªã‚ªãƒ¼ãƒ‡ã‚£ã‚ªéƒ¨åˆ†ã®ã¾ã‚ã‚Šã®é™å¯‚ã‚’ã€ã ã„ãŸã„ã€å–り終ã‚ã£ãŸã®ã§ã€æ£ã—ã„é †åºã«ä¸¦ã¹ã‚‹ã®ãŒç°¡å˜ã«ãªã‚Šã¾ã—ãŸã€‚"
#. Tag: title
@@ -1671,8 +2582,19 @@ msgstr "åŒã˜ã‚‚ã®ã®è¤‡æ•°ã®éŒ²éŸ³ã‚’比較ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
-msgstr "DAW を使ã£ãŸéŒ²éŸ³ã®ãƒ‘ワーã®ï¼‘ã¤ã¯ã€åŒã˜ã‚‚ã®ã‚’何度ã§ã‚‚録音ã§ãã‚‹ã“ã¨ã§ã™ã€‚ã“ã®ã‚ˆã†ãªãƒŸã‚シングã¨ãƒžãƒƒãƒãƒ³ã‚°ã‚’使ãˆã°ã€ã‚る音楽ã®éƒ¨åˆ†ã®ã€Œãƒ‘ーフェクトã€ãªæ¼”å¥ã‚’作り上ã’ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ã“ã®ãƒ•ã‚¡ã‚¤ãƒ«ã®ã„ãã¤ã‹ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯åŒã˜ã‚‚ã®ã®è¤‡æ•°ã®ãƒ†ã‚¤ã‚¯ã§ã™ã€‚片方ãŒã€ã‚‚ã†ç‰‡æ–¹ã‚ˆã‚Šã€ã©ã†è¦‹ã¦ã‚‚優れã¦ã„ã‚‹ã¨è¨€ãˆã‚‹ã¨ãã‚‚ã€å€‹äººçš„ãªå¥½ã¿ã«ã‚ˆã£ã¦æ±ºã‚ã‚‹ã—ã‹ãªã„ã¨ãã‚‚ã‚ã‚Šã¾ã™ã€‚ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã§ã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®éƒ¨åˆ†ã‚’比較ã—ã¦å„ªã‚ŒãŸæ–¹ã‚’é¸æŠžã™ã‚‹ã¨ã„ã†ç›®çš„ã®ãŸã‚ã«ã€ã•ã‚‰ã«ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’切り刻むã®ã«ä½¿ã†ãƒ†ã‚¯ãƒ‹ãƒƒã‚¯ã‚’説明ã—ã¾ã™ã€‚ãŸã ã€ã¾ã ã™ã¹ã¦ã®é¸æŠžãŒãªã•ã‚Œã‚‹è¨³ã§ã¯ã‚ã‚Šã¾ã›ã‚“。"
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
+msgstr ""
+"DAW "
+"を使ã£ãŸéŒ²éŸ³ã®ãƒ‘ワーã®ï¼‘ã¤ã¯ã€åŒã˜ã‚‚ã®ã‚’何度ã§ã‚‚録音ã§ãã‚‹ã“ã¨ã§ã™ã€‚ã“ã®ã‚ˆã†ãªãƒŸã‚シングã¨ãƒžãƒƒãƒãƒ³ã‚°ã‚’使ãˆã°ã€ã‚る音楽ã®éƒ¨åˆ†ã®ã€Œãƒ‘ーフェクトã€ãªæ¼”å¥ã‚’作り上ã’ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ã“ã®ãƒ•ã‚¡ã‚¤ãƒ«ã®ã„ãã¤ã‹ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯åŒã˜ã‚‚ã®ã®è¤‡æ•°ã®ãƒ†ã‚¤ã‚¯ã§ã™ã€‚片方ãŒã€ã‚‚ã†ç‰‡æ–¹ã‚ˆã‚Šã€ã©ã†è¦‹ã¦ã‚‚優れã¦ã„ã‚‹ã¨è¨€ãˆã‚‹ã¨ãã‚‚ã€å€‹äººçš„ãªå¥½ã¿ã«ã‚ˆã£ã¦æ±ºã‚ã‚‹ã—ã‹ãªã„ã¨ãã‚‚ã‚ã‚Šã¾ã™ã€‚ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã§ã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®éƒ¨åˆ†ã‚’比較ã—ã¦å„ªã‚ŒãŸæ–¹ã‚’é¸æŠžã™ã‚‹ã¨ã„ã†ç›®çš„ã®ãŸã‚ã«ã€ã•ã‚‰ã«ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’切り刻むã®ã«ä½¿ã†ãƒ†ã‚¯ãƒ‹ãƒƒã‚¯ã‚’説明ã—ã¾ã™ã€‚ãŸã ã€ã¾ã ã™ã¹ã¦ã®é¸æŠžãŒãªã•ã‚Œã‚‹è¨³ã§ã¯ã‚ã‚Šã¾ã›ã‚“。"
#. Tag: title
#, no-c-format
@@ -1681,13 +2603,25 @@ msgstr "Clarinet_1 㨠Clarinet_2 リージョン"
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
-msgstr "Clarinet_1 㨠Clarinet_2 リージョンをèžãã¾ã™ã€‚åŒã˜æ›²ã§ã€ã»ã¨ã‚“ã©ç‰ã—ã„ã§ã™ã€‚ãªã®ã§ã€ã¾ã ã€ã©ã£ã¡ã‚’使ã†ã‹æ±ºã‚ã‚‹ã®ã¯æ—©ã™ãŽã¾ã™ã€‚ã—ã‹ã—ã€åŒã˜ã ã¨ã‚ã‹ã‚‹ã‚ˆã†ã«ãƒ©ãƒ™ãƒ«ã‚’付ã‘ã¦ãŠãã¾ã—ょã†ã€‚"
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
+msgstr ""
+"Clarinet_1 㨠Clarinet_2 "
+"リージョンをèžãã¾ã™ã€‚åŒã˜æ›²ã§ã€ã»ã¨ã‚“ã©ç‰ã—ã„ã§ã™ã€‚ãªã®ã§ã€ã¾ã ã€ã©ã£ã¡ã‚’使ã†ã‹æ±ºã‚ã‚‹ã®ã¯æ—©ã™ãŽã¾ã™ã€‚ã—ã‹ã—ã€åŒã˜ã ã¨ã‚ã‹ã‚‹ã‚ˆã†ã«ãƒ©ãƒ™ãƒ«ã‚’付ã‘ã¦ãŠãã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
-msgstr "セッションツールãƒãƒ¼ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã‹ã‚‰ã€é’色ã®åå‰ã®å·¦ã«ã‚る三角を左クリックã—ã¦ã€\"Clarinet_1--L\" リージョンをé¸æŠžã—ã¾ã™ã€‚白ã„åå‰ãŒç¾ã‚Œã¾ã™ã‹ã‚‰ã€ãれを１度左クリックã—ã¾ã™ã€‚白ã„リージョンã¯ã€å…ƒã®ï¼ˆé’ã„）リージョンã®ç©ºã®ã‚¨ãƒªã‚¢ã‚’削除ã—ãŸæ™‚ã«ä½œæˆã•ã‚ŒãŸã‚‚ã®ã§ã™ã€‚"
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
+msgstr ""
+"セッションツールãƒãƒ¼ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã‹ã‚‰ã€é’色ã®åå‰ã®å·¦ã«ã‚る三角を左クリックã—ã¦ã€\"Clarinet_1--L\" "
+"リージョンをé¸æŠžã—ã¾ã™ã€‚白ã„åå‰ãŒç¾ã‚Œã¾ã™ã‹ã‚‰ã€ãれを１度左クリックã—ã¾ã™ã€‚白ã„リージョンã¯ã€å…ƒã®ï¼ˆé’ã„）リージョンã®ç©ºã®ã‚¨ãƒªã‚¢ã‚’削除ã—ãŸæ™‚ã«ä½œæˆã•ã‚ŒãŸã‚‚ã®ã§ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -1726,13 +2660,24 @@ msgstr "\"Clarinet_2--R\"㯠\"Clarinet_1B--R\" ã«ã€‚"
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
-msgstr "Clarinet_1 㨠Clarinet_2 ã¯åŒã˜éŸ³æ¥½ã®ç´ æãªã®ã§ã€ãれを示ã™åå‰ã«ã—ã¾ã—ãŸã€‚Clarinet_1 ã®ï¼’ã¤ã®ãƒãƒ¼ã‚¸ãƒ§ãƒ³ã€ \"A\" 㨠\"B\" ã§ã™ã€‚"
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
+msgstr ""
+"Clarinet_1 㨠Clarinet_2 ã¯åŒã˜éŸ³æ¥½ã®ç´ æãªã®ã§ã€ãれを示ã™åå‰ã«ã—ã¾ã—ãŸã€‚Clarinet_1 ã®ï¼’ã¤ã®ãƒãƒ¼ã‚¸ãƒ§ãƒ³ã€ \"A\""
+" 㨠\"B\" ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
-msgstr "ã“ã“ã§ã€åå‰ä»˜ã‘ã®çŸ›ç›¾ãŒç™ºç”Ÿã—ã¾ã™ã€‚é’色ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ã¾ã å…ƒã®åå‰ã‚’使ã£ã¦ãŠã‚Šã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã«ã¯ \"Clarinet_2\" ã¨ã„ã†ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã‚ã‚Šã¾ã›ã‚“ï¼ã“ã‚ŒãŒæ°—ã«ãªã‚‹ã‚ˆã†ãªã‚‰ã€ä»–ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®åå‰ã‚’æ£ã—ã変更ã—ã¦ãã ã•ã„。"
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
+msgstr ""
+"ã“ã“ã§ã€åå‰ä»˜ã‘ã®çŸ›ç›¾ãŒç™ºç”Ÿã—ã¾ã™ã€‚é’色ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ã¾ã å…ƒã®åå‰ã‚’使ã£ã¦ãŠã‚Šã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã«ã¯ \"Clarinet_2\" "
+"ã¨ã„ã†ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã‚ã‚Šã¾ã›ã‚“ï¼ã“ã‚ŒãŒæ°—ã«ãªã‚‹ã‚ˆã†ãªã‚‰ã€ä»–ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®åå‰ã‚’æ£ã—ã変更ã—ã¦ãã ã•ã„。"
#. Tag: title
#, no-c-format
@@ -1741,12 +2686,24 @@ msgstr "Clarinet_3 㨠Clarinet_4 リージョン"
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
-msgstr "Clarinet_3 㨠Clarinet_4 リージョンをèžãã¾ã™ã€‚Clarinet_4 ã¯ã€æœ€åˆã€ Clarinet_3 ã«ã‚ã‚‹ã®ã¨åŒã˜æ¼”å¥ã§å§‹ã¾ã‚Šã€ Clarinet_1A 㨠Clarinet_1B ã«ã‚ã‚‹ã®ã¨åŒã˜æ¼”å¥ã§çµ‚ã‚ã‚Šã¾ã™ã€‚ã¾ãšã€ \"Clarinet_3\" リージョンã®åå‰ã‚’ \"Clarinet_3A\" ã¨å¤‰ãˆã€ \"Clarinet_4\" リージョンを \"Clarinet_3B\" ã¨ã—ã¾ã™ã€‚次ã«ã€Clarinet_3B リージョンã‹ã‚‰ã€ Clarinet_1 ã®ã‚ˆã†ãªéƒ¨åˆ†ã‚’抜ã出ã—ã¾ã™ã€‚"
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgstr ""
+"Clarinet_3 㨠Clarinet_4 リージョンをèžãã¾ã™ã€‚Clarinet_4 ã¯ã€æœ€åˆã€ Clarinet_3 "
+"ã«ã‚ã‚‹ã®ã¨åŒã˜æ¼”å¥ã§å§‹ã¾ã‚Šã€ Clarinet_1A 㨠Clarinet_1B ã«ã‚ã‚‹ã®ã¨åŒã˜æ¼”å¥ã§çµ‚ã‚ã‚Šã¾ã™ã€‚ã¾ãšã€ \"Clarinet_3\" "
+"リージョンã®åå‰ã‚’ \"Clarinet_3A\" ã¨å¤‰ãˆã€ \"Clarinet_4\" リージョンを \"Clarinet_3B\" "
+"ã¨ã—ã¾ã™ã€‚次ã«ã€Clarinet_3B リージョンã‹ã‚‰ã€ Clarinet_1 ã®ã‚ˆã†ãªéƒ¨åˆ†ã‚’抜ã出ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr "トランスãƒãƒ¼ãƒˆãƒ„ールãƒãƒ¼ã‹ã‚‰ã€åž‚ç›´ç·šã«æŒŸã¾ã‚ŒãŸä¸¡æ–¹å‘矢å°ã®ã‚ˆã†ã«è¦‹ãˆã‚‹ã€ \"Select/Move Ranges\" ツールをé¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
@@ -1756,58 +2713,102 @@ msgstr "カーソルãŒãƒ†ã‚スト編集ã®ã¨ãã® \"I\" ã®å½¢ã«å¤‰ã‚ã‚Š
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr "\"Clarinet_3B\" ã®çµ‚ã‚ã‚Šã«ã‚¹ã‚¯ãƒãƒ¼ãƒ«ã—ã¦ã€\"Clarinet_1\" リージョンã¨åŒã˜ã‚ˆã†ã«èžã“ãˆã‚‹éƒ¨åˆ†ãŒè¦‹ãˆã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr "ã©ã¡ã‚‰ã‹ã®ãƒˆãƒ©ãƒƒã‚¯ã®ä¸ã§ã€\"Clarinet_1\" ã®ã‚ˆã†ã«è¦‹ãˆã‚‹ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ä¸Šã§ã‚¯ãƒªãƒƒã‚¯ã‚¢ãƒ³ãƒ‰ãƒ‰ãƒ©ãƒƒã‚°ã—ã¦ã€ãれをé¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
-msgstr "エディットグループã®ãŸã‚ã€<application>Ardour</application> ã¯ã€è‡ªå‹•çš„ã«ä¸¡æ–¹ã®ãƒˆãƒ©ãƒƒã‚¯ã§åŒã˜ã‚¨ãƒªã‚¢ã‚’é¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
+msgstr ""
+"エディットグループã®ãŸã‚ã€<application>Ardour</application> ã¯ã€è‡ªå‹•çš„ã«ä¸¡æ–¹ã®ãƒˆãƒ©ãƒƒã‚¯ã§åŒã˜ã‚¨ãƒªã‚¢ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
-msgstr "\"Clarinet_1\" ã«ä¼¼ãŸéƒ¨åˆ†ã‚’ã™ã¹ã¦é¸æŠžã—ãŸã®ã‚’確èªã™ã‚‹ãŸã‚ã€ç¯„囲をé¸æŠžã—ãŸã‚‰ãれをå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'Play Range' ã‚’é¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
+msgstr ""
+"\"Clarinet_1\" ã«ä¼¼ãŸéƒ¨åˆ†ã‚’ã™ã¹ã¦é¸æŠžã—ãŸã®ã‚’確èªã™ã‚‹ãŸã‚ã€ç¯„囲をé¸æŠžã—ãŸã‚‰ãれをå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'Play Range' "
+"ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
-msgstr "é¸æŠžã—ãŸç¯„囲を変更ã—ãŸã„時ã¯ã€ç¯„囲é¸æŠžãƒœãƒƒã‚¯ã‚¹ã®ä¸Šã®è§’ã«ã‚ã‚‹æš—ã„色ã®å››è§’を使ã„ã¾ã™ã€‚ã“ã®ãƒœãƒƒã‚¯ã‚¹ã®ï¼‘ã¤ã«ã‚«ãƒ¼ã‚½ãƒ«ã‚’ç½®ãã¨ã€ä¸¡æ–¹å‘ã®çŸ¢å°ã«å¤‰ã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
+msgstr ""
+"é¸æŠžã—ãŸç¯„囲を変更ã—ãŸã„時ã¯ã€ç¯„囲é¸æŠžãƒœãƒƒã‚¯ã‚¹ã®ä¸Šã®è§’ã«ã‚ã‚‹æš—ã„色ã®å››è§’を使ã„ã¾ã™ã€‚ã“ã®ãƒœãƒƒã‚¯ã‚¹ã®ï¼‘ã¤ã«ã‚«ãƒ¼ã‚½ãƒ«ã‚’ç½®ãã¨ã€ä¸¡æ–¹å‘ã®çŸ¢å°ã«å¤‰ã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
-msgstr "ã•ã‚ã€ãã®ç¯„囲ã‹ã‚‰æ–°ã—ã„リージョンを作æˆã—ã¾ã—ょã†ã€‚é¸æŠžã—ãŸç¯„囲をå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'Bounce range to region list' ã‚’é¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
+msgstr ""
+"ã•ã‚ã€ãã®ç¯„囲ã‹ã‚‰æ–°ã—ã„リージョンを作æˆã—ã¾ã—ょã†ã€‚é¸æŠžã—ãŸç¯„囲をå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'Bounce range to region "
+"list' ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
-msgstr "ãã®ç¯„囲ã¯ç‹¬ç«‹ã—ãŸãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¨ãªã‚Šã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã« \"clarinet-L-0-bounce-1\" ã®ã‚ˆã†ãªåå‰ã§ç¾ã‚Œã¾ã™ã€‚使ã„ã«ãã„ã®ã§ã€\"Clarinet_1C--L\" 㨠\"Clarinet_1C--R\" ã¨ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®åå‰ã‚’変ãˆã¾ã™ã€‚æ–°ã—ã„リージョンã¯ã€ç™½è‰²ã§ã‚ã‚‹ã“ã¨ã«æ³¨æ„ã—ã¦ãã ã•ã„。"
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
+msgstr ""
+"ãã®ç¯„囲ã¯ç‹¬ç«‹ã—ãŸãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¨ãªã‚Šã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã« \"clarinet-L-0-bounce-1\" "
+"ã®ã‚ˆã†ãªåå‰ã§ç¾ã‚Œã¾ã™ã€‚使ã„ã«ãã„ã®ã§ã€\"Clarinet_1C--L\" 㨠\"Clarinet_1C--R\" "
+"ã¨ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®åå‰ã‚’変ãˆã¾ã™ã€‚æ–°ã—ã„リージョンã¯ã€ç™½è‰²ã§ã‚ã‚‹ã“ã¨ã«æ³¨æ„ã—ã¦ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
-msgstr "範囲ツールã¯ã‚‚ã†ä½¿ã„ã¾ã›ã‚“。次ã¯ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆãƒ„ールãƒãƒ¼ã®ä¸‹ã€ç¯„囲ツールã®å·¦ã«ã‚ã‚‹ã€æ‰‹ã®å½¢ã®ã‚¢ã‚¤ã‚³ãƒ³ã® \"Select/Move Objects\" ツールをé¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
+msgstr ""
+"範囲ツールã¯ã‚‚ã†ä½¿ã„ã¾ã›ã‚“。次ã¯ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆãƒ„ールãƒãƒ¼ã®ä¸‹ã€ç¯„囲ツールã®å·¦ã«ã‚ã‚‹ã€æ‰‹ã®å½¢ã®ã‚¢ã‚¤ã‚³ãƒ³ã® \"Select/Move Objects\" "
+"ツールをé¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
-msgstr "é¸æŠžã—ãŸç¯„囲ã¯ã€ã‚‚ã†ã€é¸æŠžã•ã‚Œãªããªã‚Šã¾ã™ã€‚ \"Clarinet_3B\" リージョンã®æœ€å¾Œã‚’ã€ä»Šã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã«å…¥ã‚ŒãŸã‚‚ã®ã®å¾Œã€ãã®å‰ã®é™å¯‚ã«è¿‘ã„ã¨ã“ã‚ã¾ã§ã€åˆ‡ã‚Šè©°ã‚ã¾ã™ã€‚"
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
+msgstr ""
+"é¸æŠžã—ãŸç¯„囲ã¯ã€ã‚‚ã†ã€é¸æŠžã•ã‚Œãªããªã‚Šã¾ã™ã€‚ \"Clarinet_3B\" "
+"リージョンã®æœ€å¾Œã‚’ã€ä»Šã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã«å…¥ã‚ŒãŸã‚‚ã®ã®å¾Œã€ãã®å‰ã®é™å¯‚ã«è¿‘ã„ã¨ã“ã‚ã¾ã§ã€åˆ‡ã‚Šè©°ã‚ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr "次㫠\"Clarinet_3\" リージョンを後ã‚ã«å‹•ã‹ã—ã¦ã€æ–°ã—ã作æˆã•ã‚ŒãŸ \"Clarinet_1C\" ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’å…¥ã‚Œã‚‹å ´æ‰€ã‚’ä½œã‚Šã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
-msgstr "æ–°ã—ã„ \"Clarinet_1C\" リージョンをã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®ä»–ã® \"Clarinet_1\" ã®å¾Œã«ãƒ‰ãƒ©ãƒƒã‚°ã—ã¾ã™ã€‚ä»–ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–“隔を調整ã—ã¦ã‚‚よã„ã§ã™ã€‚"
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
+msgstr ""
+"æ–°ã—ã„ \"Clarinet_1C\" リージョンをã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®ä»–ã® \"Clarinet_1\" "
+"ã®å¾Œã«ãƒ‰ãƒ©ãƒƒã‚°ã—ã¾ã™ã€‚ä»–ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–“隔を調整ã—ã¦ã‚‚よã„ã§ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -1816,13 +2817,24 @@ msgstr "Strings_1 リージョン"
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
-msgstr "ã“れらã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€èª¤ã£ã¦éŒ²éŸ³ã•ã‚ŒãŸã¶ã¤ã¶ã¤ã„ã†ãƒŽã‚¤ã‚ºã§å§‹ã¾ã‚Šã¾ã™ã€‚ãã®ã¾ã¾ã«ã™ã‚‹ãªã‚‰ã°ã€ãƒŽã‚¤ã‚ºã‚’リージョンリストã«å…¥ã‚Œã‚Œã°ã€ãã®å¾Œã«ç¶šã弦楽器ã¨ã¯åˆ¥ã«ç‹¬ç«‹ã—ã¦åˆ¶å¾¡ã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
+msgstr ""
+"ã“れらã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€èª¤ã£ã¦éŒ²éŸ³ã•ã‚ŒãŸã¶ã¤ã¶ã¤ã„ã†ãƒŽã‚¤ã‚ºã§å§‹ã¾ã‚Šã¾ã™ã€‚ãã®ã¾ã¾ã«ã™ã‚‹ãªã‚‰ã°ã€ãƒŽã‚¤ã‚ºã‚’リージョンリストã«å…¥ã‚Œã‚Œã°ã€ãã®å¾Œã«ç¶šã弦楽器ã¨ã¯åˆ¥ã«ç‹¬ç«‹ã—ã¦åˆ¶å¾¡ã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
-msgstr "æ–°ã—ã„リージョンã¯ã€ \"strings-L-0-bounce-1\" ã¨ã§ã‚‚å付ã‘ã‚Œã°ã‚ˆã„ã§ã—ょã†ã‹ã€‚ç§ã¯ã€ã“ã®éŸ³ã¯ã€éŒ²éŸ³ã‚¹ã‚¿ã‚¸ã‚ªã®ä¸Šã®éšŽã§æ¤…åを床ã®ä¸Šã§å‹•ã‹ã™éŸ³ã ã¨çŸ¥ã£ã¦ã„ã‚‹ã®ã§ã€ \"Chairs--L\" 㨠\"Chairs--R\" ã¨ã„ã†ãƒªãƒ¼ã‚¸ãƒ§ãƒ³åã‚’ã¤ã‘ã¾ã—ãŸã€‚"
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
+msgstr ""
+"æ–°ã—ã„リージョンã¯ã€ \"strings-L-0-bounce-1\" "
+"ã¨ã§ã‚‚å付ã‘ã‚Œã°ã‚ˆã„ã§ã—ょã†ã‹ã€‚ç§ã¯ã€ã“ã®éŸ³ã¯ã€éŒ²éŸ³ã‚¹ã‚¿ã‚¸ã‚ªã®ä¸Šã®éšŽã§æ¤…åを床ã®ä¸Šã§å‹•ã‹ã™éŸ³ã ã¨çŸ¥ã£ã¦ã„ã‚‹ã®ã§ã€ \"Chairs--L\" 㨠"
+"\"Chairs--R\" ã¨ã„ã†ãƒªãƒ¼ã‚¸ãƒ§ãƒ³åã‚’ã¤ã‘ã¾ã—ãŸã€‚"
#. Tag: para
#, no-c-format
@@ -1831,23 +2843,39 @@ msgstr "ãã—ã¦ã€ Strings_1 リージョンã‹ã‚‰æ¤…åã®ãƒŽã‚¤ã‚ºã‚’除ã
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr "marimba2 トラックã¯ã¾ã 使ã£ã¦ã„ãªã„ã®ã§ã€æ¤…åã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ãã“ã«ç½®ãã“ã¨ãŒã§ãã¾ã™ã€‚今ã¯ã¨ã‚Šã‚ãˆãšã€ã‚ã‚‹ã“ã¨ã‚’忘れãªã„ãŸã‚ã«ã€‚"
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr "Strings_1 リージョンをèžãã¾ã™ã€‚椅åã®ãƒŽã‚¤ã‚ºã¯ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–“ã˜ã‚…ã†ç¶šã„ã¦ã„ã‚‹ã“ã¨ãŒã‚ã‹ã‚Šã¾ã™ã€‚後ã§å‰Šé™¤ã—ã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
-msgstr "ã‚ãªãŸãŒæ³¨æ„æ·±ãæŒã‚’èžãã‹ã€ã‚ã‚‹ã„ã¯ã€ \"Here Is How\" ã®æ¥½èœã‚’æŒã£ã¦ã„ãªã‘ã‚Œã°æ°—ãŒã¤ã‹ã‚Œãªã„ã§ã—ょã†ã‹ã‚‰ã€æ•™ãˆã¦ã‚ã’ã¾ã™ãŒã€æ¼”å¥å®¶ã¯ã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚ã‚り付近ã§ãƒŸã‚¹ã‚’ã—ã¾ã—ãŸã€‚ãƒã‚¤ã‚ªãƒªãƒ³å¥è€…ãŒã€ãã®ã™ã後ã§ã€ \"sorry\" ã¨è¨€ã£ã¦ã„ã‚‹ã®ã¯ã“ã®ãŸã‚ã§ã™ã€‚"
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
+msgstr ""
+"ã‚ãªãŸãŒæ³¨æ„æ·±ãæŒã‚’èžãã‹ã€ã‚ã‚‹ã„ã¯ã€ \"Here Is How\" "
+"ã®æ¥½èœã‚’æŒã£ã¦ã„ãªã‘ã‚Œã°æ°—ãŒã¤ã‹ã‚Œãªã„ã§ã—ょã†ã‹ã‚‰ã€æ•™ãˆã¦ã‚ã’ã¾ã™ãŒã€æ¼”å¥å®¶ã¯ã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚ã‚り付近ã§ãƒŸã‚¹ã‚’ã—ã¾ã—ãŸã€‚ãƒã‚¤ã‚ªãƒªãƒ³å¥è€…ãŒã€ãã®ã™ã後ã§ã€"
+" \"sorry\" ã¨è¨€ã£ã¦ã„ã‚‹ã®ã¯ã“ã®ãŸã‚ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
-msgstr "誤りを除ã‹ãªã„ã¨ã„ã‘ãªã„ã®ã§ã€ãƒˆãƒ©ãƒƒã‚¯ã®çµ‚ã‚りを調整ã—ã¦ã€ç´„６秒ã€çŸãã—ã¾ã™ã€‚ã‚ャンãƒã‚¹ãƒ“ューã§ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®æœ€å¾Œã‚’ã€æœ€å¾Œã‹ã‚‰ï¼’ã¤ã‚ã® \"blob\" ã®å‰ã«ã—ã¾ã™ã€‚"
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
+msgstr ""
+"誤りを除ã‹ãªã„ã¨ã„ã‘ãªã„ã®ã§ã€ãƒˆãƒ©ãƒƒã‚¯ã®çµ‚ã‚りを調整ã—ã¦ã€ç´„６秒ã€çŸãã—ã¾ã™ã€‚ã‚ャンãƒã‚¹ãƒ“ューã§ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®æœ€å¾Œã‚’ã€æœ€å¾Œã‹ã‚‰ï¼’ã¤ã‚ã® \"blob\""
+" ã®å‰ã«ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -1856,13 +2884,21 @@ msgstr "弦楽器リージョン"
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr "ã“れらã®ï¼”ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ã™ã¹ã¦ã€é–¢é€£ã—ã¦ã„ã¦ã€å†…容もオーãƒãƒ©ãƒƒãƒ—ã—ã¦ã„ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
-msgstr "Strings_2 ã¯ã€ Strings_1 ã¨åŒã˜æ¼”å¥ã®ã»ã¨ã‚“ã©ã‚’å«ã¿ã€å°‘ã—é•·ã„ã§ã™ã€‚ãã“ã«ã¯ã€æ¤…åã®ãƒŽã‚¤ã‚ºã¯ã‚ã‚Šã¾ã›ã‚“。ã—ã‹ã—ã€æœ€åˆã®ï¼‘分２ï¼ç§’（１：２ï¼ï¼‰ã®ã‚ãŸã‚Šã«ã€æ¼”å¥ãƒŸã‚¹ãŒã‚ã‚‹ã®ã§ã€çµ‚ã‚ã‚Šã®æ–¹ã¯ä½¿ã†ã“ã¨ãŒã§ãã¾ã›ã‚“。"
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
+msgstr ""
+"Strings_2 ã¯ã€ Strings_1 "
+"ã¨åŒã˜æ¼”å¥ã®ã»ã¨ã‚“ã©ã‚’å«ã¿ã€å°‘ã—é•·ã„ã§ã™ã€‚ãã“ã«ã¯ã€æ¤…åã®ãƒŽã‚¤ã‚ºã¯ã‚ã‚Šã¾ã›ã‚“。ã—ã‹ã—ã€æœ€åˆã®ï¼‘分２ï¼ç§’（１：２ï¼ï¼‰ã®ã‚ãŸã‚Šã«ã€æ¼”å¥ãƒŸã‚¹ãŒã‚ã‚‹ã®ã§ã€çµ‚ã‚ã‚Šã®æ–¹ã¯ä½¿ã†ã“ã¨ãŒã§ãã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
@@ -1891,7 +2927,9 @@ msgstr "Strings_3 ã‚‚åŒã˜æ¼”å¥ãªã®ã§ã€ \"Strings_1C\" ã¨ã„ã†åå‰ã«
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr "Strings_4 ã¯ã€ Strings_1A ãŒå¤±æ•—ã—ãŸã¨ã“ã‚ã‹ã‚‰å§‹ã¾ã£ã¦ã€ãã“ã‹ã‚‰ç¶šãã¾ã™ã€‚今ã¯ã€ã“ã®ã¾ã¾ã¨ã—ã¾ã—ょã†ã€‚"
#. Tag: title
@@ -1901,42 +2939,69 @@ msgstr "ボイスリージョン"
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr "ã“れらã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã„ãらã‹ã®ã‚ªãƒ¼ãƒãƒ©ãƒƒãƒ—ãŒã‚ã‚Šã¾ã™ãŒã€è¦‹åˆ†ã‘ã‚‹ã®ã¯ã‚ã‚Šã¨ç°¡å˜ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
-msgstr "Voice_1 ã«ã¯ã€ï¼’ã¤ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ãƒãƒ£ãƒ³ã‚¯ãŒã‚ã‚Šã¾ã™ã€‚最åˆã®ã¯è‰¯ã„ã§ã™ãŒã€ï¼’ã¤ã‚ã¯æŒæ‰‹ã®å•é¡Œã§ã‚¯ãƒªã‚¢ãƒ¼ã§ãªã„ãŸã‚ã€ã“ã‚Œã¯ä½¿ã‚ãªã„ã“ã¨ã«ã—ã¾ã—ょã†ã€‚"
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
+msgstr ""
+"Voice_1 ã«ã¯ã€ï¼’ã¤ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ãƒãƒ£ãƒ³ã‚¯ãŒã‚ã‚Šã¾ã™ã€‚最åˆã®ã¯è‰¯ã„ã§ã™ãŒã€ï¼’ã¤ã‚ã¯æŒæ‰‹ã®å•é¡Œã§ã‚¯ãƒªã‚¢ãƒ¼ã§ãªã„ãŸã‚ã€ã“ã‚Œã¯ä½¿ã‚ãªã„ã“ã¨ã«ã—ã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
-msgstr "Voice_2 ã«ã¯ã€ Voice_1ã§éŒ²éŸ³ãŒå¤±æ•—ã—ã¦ã„ãŸï¼’ã¤ã‚ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ãƒãƒ£ãƒ³ã‚¯ãŒå…¥ã£ã¦ã„ã¾ã™ã€‚ Voice_2 ã«ãŠã„ã¦ã‚‚ã€å½¼å¥³ã¯å°‘ã—å•é¡Œã‚’抱ãˆã¦ã„るよã†ã§ã™ã€‚今ã€ãれを直ã—ã¾ã—ょã†ã€‚"
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgstr ""
+"Voice_2 ã«ã¯ã€ Voice_1ã§éŒ²éŸ³ãŒå¤±æ•—ã—ã¦ã„ãŸï¼’ã¤ã‚ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ãƒãƒ£ãƒ³ã‚¯ãŒå…¥ã£ã¦ã„ã¾ã™ã€‚ Voice_2 "
+"ã«ãŠã„ã¦ã‚‚ã€å½¼å¥³ã¯å°‘ã—å•é¡Œã‚’抱ãˆã¦ã„るよã†ã§ã™ã€‚今ã€ãれを直ã—ã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr "Voice_1 リージョンを切り詰ã‚ã¦ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ï¼’ã¤ã‚ã®ãƒãƒ£ãƒ³ã‚¯ã¨ã€ãã®å‰ã®é™å¯‚ã«è¿‘ã„部分を除ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
-msgstr "Voice_2 リージョンã®å¯¾ç–ã®ï¼‘ã¤ã®æ‰‹ã¯å˜ç´”ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®æœ€åˆã®éƒ¨åˆ†ã‚’切りå–ã£ã¦ã—ã¾ã†ã“ã¨ã§ã™ã€‚\"I have your flax-\" ã¨ã„ã†æŒè©žã¨é™å¯‚ãŒã‚る部分ã§ã™ã€‚"
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
+msgstr ""
+"Voice_2 リージョンã®å¯¾ç–ã®ï¼‘ã¤ã®æ‰‹ã¯å˜ç´”ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®æœ€åˆã®éƒ¨åˆ†ã‚’切りå–ã£ã¦ã—ã¾ã†ã“ã¨ã§ã™ã€‚\"I have your flax-\" "
+"ã¨ã„ã†æŒè©žã¨é™å¯‚ãŒã‚る部分ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
-msgstr "æŒæ‰‹ãŒã€ï¼’回目㫠\"I have your flax-\" ã¨æŒã†ã¨ã“ã‚ã¯ã€å°‘ã—急ã„ã§èžã“ãˆã¾ã™ã€‚ãã‚Œã§ã€ï¼‘番目㮠\"I have your flax-\" ã¨ã€ç¶šã \"golden tails to ... \" ã‚’ãã£ã¤ã‘ã‚‹ã“ã¨ã«ã—ã¾ã—ãŸã€‚"
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
+msgstr ""
+"æŒæ‰‹ãŒã€ï¼’回目㫠\"I have your flax-\" ã¨æŒã†ã¨ã“ã‚ã¯ã€å°‘ã—急ã„ã§èžã“ãˆã¾ã™ã€‚ãã‚Œã§ã€ï¼‘番目㮠\"I have your "
+"flax-\" ã¨ã€ç¶šã \"golden tails to ... \" ã‚’ãã£ã¤ã‘ã‚‹ã“ã¨ã«ã—ã¾ã—ãŸã€‚"
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
-msgstr "\"Select/Move Ranges\" ツールを使ã£ã¦ã€æŒæ‰‹ãŒæœ€åˆã« \"I have your flax-\" ã¨æŒã†éƒ¨åˆ†ã‚’é¸æŠžã—ã¾ã™ã€‚ \"flax\" ã¨ã„ã†èªžãŒå…¨éƒ¨å…¥ã‚‹ã‚ˆã†ã«ã€ãã—ã¦ãã®å¾Œã®é™å¯‚ãŒå…¥ã‚‰ãªã„よã†ã«ã€æ³¨æ„ã—ã¾ã™ã€‚"
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
+msgstr ""
+"\"Select/Move Ranges\" ツールを使ã£ã¦ã€æŒæ‰‹ãŒæœ€åˆã« \"I have your flax-\" ã¨æŒã†éƒ¨åˆ†ã‚’é¸æŠžã—ã¾ã™ã€‚ "
+"\"flax\" ã¨ã„ã†èªžãŒå…¨éƒ¨å…¥ã‚‹ã‚ˆã†ã«ã€ãã—ã¦ãã®å¾Œã®é™å¯‚ãŒå…¥ã‚‰ãªã„よã†ã«ã€æ³¨æ„ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr "トランスãƒãƒ¼ãƒˆã®ãƒ«ãƒ¼ãƒ—機能を使ã£ã¦ã€æ£ã—ã„範囲をé¸æŠžã—ãŸã“ã¨ã‚’確èªã—ã¾ã™ã€‚"
#. Tag: para
@@ -1946,7 +3011,9 @@ msgstr "範囲をé¸æŠžã—ã¦ã€å³ã‚¯ãƒªãƒƒã‚¯ã—〠'loop range' ã‚’é¸æŠžã—
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr "ç›´ã—ãŸã„時ã¯ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã‚’æ¢ã‚ã€ç¯„囲を調整ã—ã¾ã™ã€‚"
#. Tag: para
@@ -1956,42 +3023,75 @@ msgstr "ã‚‚ã†ä¸€åº¦èžãã«ã¯ã€ç¯„囲をå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ 'loop range
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
-msgstr "範囲をå分細ã‹ã調整ã™ã‚‹ãŸã‚ã«ã€ã‚ºãƒ¼ãƒ インã—ãŸæ–¹ãŒã‚ˆã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ã‚ーボード㧠'Ctrl' ã‚ーを押ã—ãŸã¾ã¾ã€ã‚¹ã‚¯ãƒãƒ¼ãƒ«ãƒ›ã‚¤ãƒ¼ãƒ«ã‚’使ã£ã¦ã‚ºãƒ¼ãƒ インã—ã¾ã™ã€‚"
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
+msgstr ""
+"範囲をå分細ã‹ã調整ã™ã‚‹ãŸã‚ã«ã€ã‚ºãƒ¼ãƒ インã—ãŸæ–¹ãŒã‚ˆã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ã‚ーボード㧠'Ctrl' "
+"ã‚ーを押ã—ãŸã¾ã¾ã€ã‚¹ã‚¯ãƒãƒ¼ãƒ«ãƒ›ã‚¤ãƒ¼ãƒ«ã‚’使ã£ã¦ã‚ºãƒ¼ãƒ インã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
-msgstr "ループ機能を使ã„終ã‚ã£ãŸã‚‰ã€ã‚¿ã‚¤ãƒ ラインã‹ã‚‰ãƒ«ãƒ¼ãƒ—マーカーを除ãã¾ã™ã€‚ \"Loop\" ã¨ã€æ›¸ã„ã¦ã‚ã‚‹ã€ç·‘色ã®ä¸‰è§’å°ã§ã™ã€‚三角ã®ä¸Šã«ã‚«ãƒ¼ã‚½ãƒ«ã‚’ç½®ãã¨è‰²ãŒå¤‰ã‚ã‚‹ã®ã§ã€ã‚ーボード㧠'Delete' ボタンを押ã—ã¾ã™ã€‚"
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
+msgstr ""
+"ループ機能を使ã„終ã‚ã£ãŸã‚‰ã€ã‚¿ã‚¤ãƒ ラインã‹ã‚‰ãƒ«ãƒ¼ãƒ—マーカーを除ãã¾ã™ã€‚ \"Loop\" "
+"ã¨ã€æ›¸ã„ã¦ã‚ã‚‹ã€ç·‘色ã®ä¸‰è§’å°ã§ã™ã€‚三角ã®ä¸Šã«ã‚«ãƒ¼ã‚½ãƒ«ã‚’ç½®ãã¨è‰²ãŒå¤‰ã‚ã‚‹ã®ã§ã€ã‚ーボード㧠'Delete' ボタンを押ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr "é¸æŠžã—ãŸç¯„囲ãŒãã‚Œã§ã‚ˆã‘ã‚Œã°ã€ç¯„囲をå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'Consolidate range' ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
-msgstr "<application>Ardour</application> ã¯ã€ã‚ãªãŸãŒé¸æŠžã—ãŸç¯„囲ã‹ã‚‰ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’作ã£ã¦ãã“ã«ç½®ãã¾ã™ã€‚ã•ã‚‰ã«ã€æ–°ã—ã„リージョンã®å‰ã¨å¾Œã‚ã®ã‚¹ãƒšãƒ¼ã‚¹ã‚‚別リージョンã¨ã—ã¦åˆ†å‰²ã™ã‚‹ãŸã‚ã€å¤šãã®å°ã•ã„リージョンãŒã§ãã‚‹ã“ã¨ã«ãªã‚Šã¾ã™ã€‚ã™ã¹ã¦ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãƒ„ールãƒãƒ¼ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã€é’色㮠\"Voice_2--L\" 㨠\"Voice_2--R\" リージョンã®ä¸‹ã«ã€ã‚ã‹ã‚Šã‚„ã™ã„よã†ã«ã¾ã¨ã‚られã¾ã™ã€‚"
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgstr ""
+"<application>Ardour</application> "
+"ã¯ã€ã‚ãªãŸãŒé¸æŠžã—ãŸç¯„囲ã‹ã‚‰ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’作ã£ã¦ãã“ã«ç½®ãã¾ã™ã€‚ã•ã‚‰ã«ã€æ–°ã—ã„リージョンã®å‰ã¨å¾Œã‚ã®ã‚¹ãƒšãƒ¼ã‚¹ã‚‚別リージョンã¨ã—ã¦åˆ†å‰²ã™ã‚‹ãŸã‚ã€å¤šãã®å°ã•ã„リージョンãŒã§ãã‚‹ã“ã¨ã«ãªã‚Šã¾ã™ã€‚ã™ã¹ã¦ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãƒ„ールãƒãƒ¼ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãƒªã‚¹ãƒˆã€é’色ã®"
+" \"Voice_2--L\" 㨠\"Voice_2--R\" リージョンã®ä¸‹ã«ã€ã‚ã‹ã‚Šã‚„ã™ã„よã†ã«ã¾ã¨ã‚られã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
-msgstr "オリジナル㮠Voice_2 リージョンã®æ®‹ã‚Šã‚’切り詰ã‚ã¦ã€ãれ㌠\"golden\" ã§å§‹ã¾ã£ã¦ã€å‰ã®èªžï¼ˆ\"flax-\"）をå«ã¾ãªã„よã†ã«ã—ã¾ã™ã€‚範囲ツールを使ã†å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“ãŒã€ä½¿ã£ã¦ã‚‚よã„ã§ã™ã€‚ "
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
+msgstr ""
+"オリジナル㮠Voice_2 リージョンã®æ®‹ã‚Šã‚’切り詰ã‚ã¦ã€ãれ㌠\"golden\" "
+"ã§å§‹ã¾ã£ã¦ã€å‰ã®èªžï¼ˆ\"flax-\"）をå«ã¾ãªã„よã†ã«ã—ã¾ã™ã€‚範囲ツールを使ã†å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“ãŒã€ä½¿ã£ã¦ã‚‚よã„ã§ã™ã€‚ "
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr "次ã«ã€ï¼’ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ãã£ã¤ã‘ã¦ã€ \"I have your flax-golden tails to... \" ã¨èžã“ãˆã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr "ã“ã®æ–¹æ³•ã¯ã€å®Œå…¨ã¨ã¯è¨€ãˆã¾ã›ã‚“ãŒã€å˜ã«ã€ Voice_2 リージョンã®å…ˆé を切り詰ã‚ã¦ã‚‚ãªã‚“ã¨ã‹ãªã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr "両方ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’åŒæ™‚ã«å‹•ã‹ã™ã®ã‚’忘れãªã„ã“ã¨ãŒå¤§äº‹ã§ã™ã€‚誤ã£ã¦ãƒãƒ©ãƒãƒ©ã«ãªã£ã¦ã‚‚ã€å…ƒã®é€šã‚Šã«æˆ»ã™ã®ã¯ç°¡å˜ã§ã™ã€‚"
#. Tag: para
@@ -2001,8 +3101,13 @@ msgstr "Voice_3 ã¯ï¼’ã¤ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ãƒãƒ£ãƒ³ã‚¯ãŒã‚ã‚Šã¾ã™ã€‚今
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
-msgstr "Voice_4 ã«ã¯ Voice_3 ã¨åŒã˜ï¼’ã¤ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ãƒãƒ£ãƒ³ã‚¯ãŒã‚ã‚Šã¾ã™ãŒã€ã•ã‚‰ã«ç¶šã„ã¦ã€ä»–ã®ã‚‚ã®ã‚‚å«ã¾ã‚Œã¾ã™ã€‚ã“ã®ï¼’ã¤ã®ãƒãƒ£ãƒ³ã‚¯ã«ã¤ã„ã¦ã€ Voice_3 ã‹ Voice_4 ã®ã©ã¡ã‚‰ã‚’使ã†ã‹ã€ã¾ã 決ã‚られãªã„ã®ã§ã€ä¸¡æ–¹ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«æ®‹ã™ã“ã¨ã«ã—ã¾ã™ã€‚"
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
+msgstr ""
+"Voice_4 ã«ã¯ Voice_3 ã¨åŒã˜ï¼’ã¤ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ãƒãƒ£ãƒ³ã‚¯ãŒã‚ã‚Šã¾ã™ãŒã€ã•ã‚‰ã«ç¶šã„ã¦ã€ä»–ã®ã‚‚ã®ã‚‚å«ã¾ã‚Œã¾ã™ã€‚ã“ã®ï¼’ã¤ã®ãƒãƒ£ãƒ³ã‚¯ã«ã¤ã„ã¦ã€ "
+"Voice_3 ã‹ Voice_4 ã®ã©ã¡ã‚‰ã‚’使ã†ã‹ã€ã¾ã 決ã‚られãªã„ã®ã§ã€ä¸¡æ–¹ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«æ®‹ã™ã“ã¨ã«ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -2016,13 +3121,27 @@ msgstr "ens-Here_Is_How-1 ã¯ã€ä¼¼ãŸã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ï¼’ã¤ã®ãƒãƒ£ãƒ³ã‚¯ãŒ
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
-msgstr "ens-Here_Is_How-2 ã¯ã€ä¼¼ãŸã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ï¼’ã¤ã®ãƒãƒ£ãƒ³ã‚¯ãŒã‚ã‚Šã¾ã™ã€‚ens-Here_Is_How-1 ã¨ã¯ç•°ãªã‚Šã¾ã™ã€‚ï¼’ã¤ã‚ã®ãƒãƒ£ãƒ³ã‚¯ã¯ã€éŸ³ç¨‹ãŒãŠã‹ã—ã„ã§ã™ã€‚ï¼’ã¤ã®ãƒãƒ£ãƒ³ã‚¯ã®é–“ã®ã‚¿ã‚¤ãƒŸãƒ³ã‚°ã¯æ£ã—ã„ã§ã™ã€‚"
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
+msgstr ""
+"ens-Here_Is_How-2 ã¯ã€ä¼¼ãŸã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ï¼’ã¤ã®ãƒãƒ£ãƒ³ã‚¯ãŒã‚ã‚Šã¾ã™ã€‚ens-Here_Is_How-1 "
+"ã¨ã¯ç•°ãªã‚Šã¾ã™ã€‚ï¼’ã¤ã‚ã®ãƒãƒ£ãƒ³ã‚¯ã¯ã€éŸ³ç¨‹ãŒãŠã‹ã—ã„ã§ã™ã€‚ï¼’ã¤ã®ãƒãƒ£ãƒ³ã‚¯ã®é–“ã®ã‚¿ã‚¤ãƒŸãƒ³ã‚°ã¯æ£ã—ã„ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
-msgstr "ens-Here_Is_How-3 ã«ã¯ã€ ens-Here_Is_How-2 ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ï¼’ã¤ã‚ã®ãƒãƒ£ãƒ³ã‚¯ã®æ£ã—ã„音程ã®ã‚‚ã®ãŒã‚ã‚Šã¾ã™ã€‚ens-Here_Is_How-2 ã®æ£ã—ã„タイミングをç¶æŒã—ãŸã„ã®ã§ã€ ens-Here_Is_How-3 ã‚’ ens-Here_Is_How-2 ã®ã¡ã‚‡ã†ã©ä¸Šã«ãƒ‰ãƒ©ãƒƒã‚°ã—ã¾ã™ã€‚ï¼’ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’並ã¹ã¦ã€ï¼“ã®æ³¢å½¢ãŒã§ãã‚‹ã ã‘ï¼’ã®æ³¢å½¢ã‚’ã‚«ãƒãƒ¼ã™ã‚‹ã‚ˆã†ã«èª¿æ•´ã—ã¾ã™ã€‚ã“れらã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ä¸€ç·’ã«ç§»å‹•ã™ã‚‹ã‚ˆã†ã«æ³¨æ„ãã ã•ã„。"
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
+msgstr ""
+"ens-Here_Is_How-3 ã«ã¯ã€ ens-Here_Is_How-2 ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã®ï¼’ã¤ã‚ã®ãƒãƒ£ãƒ³ã‚¯ã®æ£ã—ã„音程ã®ã‚‚ã®ãŒã‚ã‚Šã¾ã™ã€‚ens-"
+"Here_Is_How-2 ã®æ£ã—ã„タイミングをç¶æŒã—ãŸã„ã®ã§ã€ ens-Here_Is_How-3 ã‚’ ens-Here_Is_How-2 "
+"ã®ã¡ã‚‡ã†ã©ä¸Šã«ãƒ‰ãƒ©ãƒƒã‚°ã—ã¾ã™ã€‚ï¼’ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’並ã¹ã¦ã€ï¼“ã®æ³¢å½¢ãŒã§ãã‚‹ã ã‘ï¼’ã®æ³¢å½¢ã‚’ã‚«ãƒãƒ¼ã™ã‚‹ã‚ˆã†ã«èª¿æ•´ã—ã¾ã™ã€‚ã“れらã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ä¸€ç·’ã«ç§»å‹•ã™ã‚‹ã‚ˆã†ã«æ³¨æ„ãã ã•ã„。"
#. Tag: title
#, no-c-format
@@ -2036,22 +3155,35 @@ msgstr "ã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã«ã¯ã€åŒã˜æ›²ã®ï¼’ã¤ã®ãƒ†ã‚¤ã‚¯ãŒã‚ã‚Šã¾
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
-msgstr "両方をèžã„ã¦ã€ã©ã¡ã‚‰ãŒå¥½ãã‹æ±ºã‚ã¾ã™ã€‚ã‚ãªãŸã®å¥½ã¿ã®å•é¡Œã§ã™ã€‚後ã‹ã‚‰ã€é¸æŠžã‚’逆ã«ã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚ <application>Ardour</application> ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’切り詰ã‚ã‚‹ã¨ãã«å‰Šé™¤ã•ã‚ŒãŸã‚‚ã®ã‚’本当ã«æ¶ˆã—ã¦ã—ã¾ã†ã‚ã‘ã§ã¯ãªã„ãŸã‚ã§ã™ã€‚"
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
+msgstr ""
+"両方をèžã„ã¦ã€ã©ã¡ã‚‰ãŒå¥½ãã‹æ±ºã‚ã¾ã™ã€‚ã‚ãªãŸã®å¥½ã¿ã®å•é¡Œã§ã™ã€‚後ã‹ã‚‰ã€é¸æŠžã‚’逆ã«ã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚ "
+"<application>Ardour</application> "
+"ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’切り詰ã‚ã‚‹ã¨ãã«å‰Šé™¤ã•ã‚ŒãŸã‚‚ã®ã‚’本当ã«æ¶ˆã—ã¦ã—ã¾ã†ã‚ã‘ã§ã¯ãªã„ãŸã‚ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr "範囲ツールを使ã£ã¦ã€ã‚ãªãŸãŒå¥½ããªæ–¹ã®ãƒ†ã‚¤ã‚¯ã‚’å«ã‚€ç¯„囲をé¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr "トランスãƒãƒ¼ãƒˆã®ãƒ«ãƒ¼ãƒ—機能を使ã£ã¦ã€æ£ã—ã„範囲をé¸æŠžã—ãŸã“ã¨ã‚’確èªã™ã‚‹ã®ã‚‚よã„ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr "範囲をå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ 'Crop region to range' ã‚’é¸æŠžã—ã¾ã™ã€‚自動的ã«ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’切り詰ã‚ã¦ãã‚Œã¾ã™ã€‚"
#. Tag: title
@@ -2071,13 +3203,27 @@ msgstr "リージョンをæ£ã—ã„å ´æ‰€ã«ä¸¦ã¹ã‚‹"
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
-msgstr "マリンãƒã‚’並ã¹ã‚‹ã“ã¨ã‹ã‚‰å§‹ã‚ã¾ã—ょã†ã€‚ãã‚Œã¯æ›²ã®ã»ã¨ã‚“ã©ã«ã‚ãŸã£ã¦ã€æ¯”較的一定ã®ãƒªã‚ºãƒ ã‚’æ¼”å¥ã™ã‚‹ã‹ã‚‰ã§ã™ã€‚ã“ã®ã‚ˆã†ãªã‚‚ã®ã‹ã‚‰å§‹ã‚ã‚‹ã®ã¯ã‚ˆã„考ãˆã§ã€ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã€ãã‚Œã«é–¢é€£ã•ã›ã‚‹ã“ã¨ãŒã§ãã‚‹ã‹ã‚‰ã§ã™ã€‚"
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
+msgstr ""
+"マリンãƒã‚’並ã¹ã‚‹ã“ã¨ã‹ã‚‰å§‹ã‚ã¾ã—ょã†ã€‚ãã‚Œã¯æ›²ã®ã»ã¨ã‚“ã©ã«ã‚ãŸã£ã¦ã€æ¯”較的一定ã®ãƒªã‚ºãƒ ã‚’æ¼”å¥ã™ã‚‹ã‹ã‚‰ã§ã™ã€‚ã“ã®ã‚ˆã†ãªã‚‚ã®ã‹ã‚‰å§‹ã‚ã‚‹ã®ã¯ã‚ˆã„考ãˆã§ã€ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã€ãã‚Œã«é–¢é€£ã•ã›ã‚‹ã“ã¨ãŒã§ãã‚‹ã‹ã‚‰ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
-msgstr "ã“ã“ã§ã®æ™‚é–“ã¯ã™ã¹ã¦ã€åˆ†ã¨ç§’ã§ç¤ºã•ã‚Œã¾ã™ã€‚ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã®ãƒ•ã‚¡ã‚¤ãƒ«ã¯ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§ã“ã®å˜ä½ã‚’使ã†ã‚ˆã†ã«è¨å®šã•ã‚Œã¦ã„ã¾ã™ã€‚ã—ã‹ã—ã€ã‚ãªãŸãŒãれを変更ã—ãŸãªã‚‰ã€ãれを覚ãˆã¦ãŠãå¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ã¾ãŸã€ç§ã¯ã€ \"Marimba_1\" リージョンを切り詰ã‚ãŸã‚Šã¯ã—ã¦ãŠã‚‰ãšã€ãれ㯠\"marimba1\" トラック㮠00:00:00.000 ã‹ã‚‰é–‹å§‹ã—ã¾ã™ã€‚ã‚‚ã—ã‚ãªãŸãŒã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’変更ã—ãŸãªã‚‰ã€å…ƒã®å¤§ãã•ã«æˆ»ã—ã¦ãŠãã“ã¨ã‚’ãŠã™ã™ã‚ã—ã¾ã™ã€‚"
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
+msgstr ""
+"ã“ã“ã§ã®æ™‚é–“ã¯ã™ã¹ã¦ã€åˆ†ã¨ç§’ã§ç¤ºã•ã‚Œã¾ã™ã€‚ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã®ãƒ•ã‚¡ã‚¤ãƒ«ã¯ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§ã“ã®å˜ä½ã‚’使ã†ã‚ˆã†ã«è¨å®šã•ã‚Œã¦ã„ã¾ã™ã€‚ã—ã‹ã—ã€ã‚ãªãŸãŒãれを変更ã—ãŸãªã‚‰ã€ãれを覚ãˆã¦ãŠãå¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ã¾ãŸã€ç§ã¯ã€"
+" \"Marimba_1\" リージョンを切り詰ã‚ãŸã‚Šã¯ã—ã¦ãŠã‚‰ãšã€ãれ㯠\"marimba1\" トラック㮠00:00:00.000 "
+"ã‹ã‚‰é–‹å§‹ã—ã¾ã™ã€‚ã‚‚ã—ã‚ãªãŸãŒã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’変更ã—ãŸãªã‚‰ã€å…ƒã®å¤§ãã•ã«æˆ»ã—ã¦ãŠãã“ã¨ã‚’ãŠã™ã™ã‚ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -2086,83 +3232,152 @@ msgstr "マリンãƒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‹ã‚‰å§‹ã‚ã‚‹"
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
-msgstr " \"Marimba_1\" リージョンを切り詰ã‚ãŸã‚Šã—ã¦ãªã„ã“ã¨ã¨ã€ãれ㌠00:00:00.000 ã‹ã‚‰é–‹å§‹ã™ã‚‹ã“ã¨ã‚’確ã‹ã‚ãŸã‚‰ã€ãã®å ´ã§ãƒãƒƒã‚¯ã—ã¾ã—ょã†ã€‚"
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgstr ""
+" \"Marimba_1\" リージョンを切り詰ã‚ãŸã‚Šã—ã¦ãªã„ã“ã¨ã¨ã€ãれ㌠00:00:00.000 "
+"ã‹ã‚‰é–‹å§‹ã™ã‚‹ã“ã¨ã‚’確ã‹ã‚ãŸã‚‰ã€ãã®å ´ã§ãƒãƒƒã‚¯ã—ã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr "リージョンをå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ 'Selected regions' メニューã«è¡Œã£ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'Lock' をクリックã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
-msgstr "<application>Ardour</application> ãŒã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã§ã€ > 㨠< ã‚’ã€åå‰ã®ã¾ã‚ã‚Šã«ã¤ã‘ã‚‹ã“ã¨ã«æ³¨æ„ãã ã•ã„。"
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
+msgstr ""
+"<application>Ardour</application> ãŒã€ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã§ã€ > 㨠< "
+"ã‚’ã€åå‰ã®ã¾ã‚ã‚Šã«ã¤ã‘ã‚‹ã“ã¨ã«æ³¨æ„ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr "ã¾ãŸã€ãã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’〠\"Select/Move Objects\" ツールã§å‹•ã‹ã™ã“ã¨ãŒã§ããªããªã£ã¦ã„ã‚‹ã“ã¨ã«ã‚‚注æ„ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr "ã•ã¦ã€ãã‚ŒãŒé–‹å§‹ã™ã‚‹æ£ç¢ºãªæ™‚刻を示ã™ãŸã‚ã«ãƒžãƒ¼ã‚«ãƒ¼ã‚’ç½®ãã¾ã™ã€‚セッションãŒå§‹ã¾ã£ã¦ã‹ã‚‰ï¼–秒ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
-msgstr "é©å½“ã«ã‚ºãƒ¼ãƒ インã—ã¦ã€ï¼–秒ã®ãƒžãƒ¼ã‚¯ãŒãƒ«ãƒ¼ãƒ©ãƒ¼ã®ä¸Šã§ã©ã“ã«è¡Œãã‹ã‚ã‹ã‚‹ã‚ˆã†ã«ã—ã¦ãã ã•ã„。（今ã™ãã«ã€è¦‹ãˆã‚‹å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“。）ã‚ーボード㧠'Ctrl' ボタンを押ã—ãŸã¾ã¾ã«ã—ã¦ã€ãƒžã‚¦ã‚¹ã®ã‚¹ã‚¯ãƒãƒ¼ãƒ«ãƒ›ã‚¤ãƒ¼ãƒ«ã‚’使ã£ã¦ã‚ºãƒ¼ãƒ インã—ã¦ä¸‹ã•ã„。ã‚ã‚‹ã„ã¯ã€ã‚ーボード㮠'=' ã§ã‚ºãƒ¼ãƒ イン〠'-' ã§ã‚ºãƒ¼ãƒ アウトã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚"
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
+msgstr ""
+"é©å½“ã«ã‚ºãƒ¼ãƒ インã—ã¦ã€ï¼–秒ã®ãƒžãƒ¼ã‚¯ãŒãƒ«ãƒ¼ãƒ©ãƒ¼ã®ä¸Šã§ã©ã“ã«è¡Œãã‹ã‚ã‹ã‚‹ã‚ˆã†ã«ã—ã¦ãã ã•ã„。（今ã™ãã«ã€è¦‹ãˆã‚‹å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“。）ã‚ーボード㧠'Ctrl'"
+" ボタンを押ã—ãŸã¾ã¾ã«ã—ã¦ã€ãƒžã‚¦ã‚¹ã®ã‚¹ã‚¯ãƒãƒ¼ãƒ«ãƒ›ã‚¤ãƒ¼ãƒ«ã‚’使ã£ã¦ã‚ºãƒ¼ãƒ インã—ã¦ä¸‹ã•ã„。ã‚ã‚‹ã„ã¯ã€ã‚ーボード㮠'=' ã§ã‚ºãƒ¼ãƒ イン〠'-' "
+"ã§ã‚ºãƒ¼ãƒ アウトã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
-msgstr "カーソルを６秒ã®ãƒžãƒ¼ã‚¯ã®è¿‘ãã«ç§»å‹•ã—ã¾ã™ã€‚（繰り返ã—ã¾ã™ãŒã€ã¾ã ã€æ£ç¢ºã§ã‚ã‚‹å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“。）\"Location Markers\" 行をå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'New location marker' ã‚’é¸æŠžã—ã¾ã™ã€‚"
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
+msgstr ""
+"カーソルを６秒ã®ãƒžãƒ¼ã‚¯ã®è¿‘ãã«ç§»å‹•ã—ã¾ã™ã€‚（繰り返ã—ã¾ã™ãŒã€ã¾ã ã€æ£ç¢ºã§ã‚ã‚‹å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“。）\"Location Markers\" "
+"行をå³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'New location marker' ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
-msgstr "黄緑色ã®çŸ¢å°ãŒç¾ã‚Œã¾ã™ã‹ã‚‰ã€ã‚¯ãƒªãƒƒã‚¯ã‚¢ãƒ³ãƒ‰ãƒ‰ãƒ©ãƒƒã‚°ã—ã¦ã€é»„色ã®æ™‚計㌠00:00:06.000 ã¡ã‚‡ã†ã©ï¼–秒を指ã™ã‚ˆã†ã«ã—ã¦ã€ãƒžã‚¦ã‚¹ã‚’離ã—ã¾ã™ã€‚"
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgstr ""
+"黄緑色ã®çŸ¢å°ãŒç¾ã‚Œã¾ã™ã‹ã‚‰ã€ã‚¯ãƒªãƒƒã‚¯ã‚¢ãƒ³ãƒ‰ãƒ‰ãƒ©ãƒƒã‚°ã—ã¦ã€é»„色ã®æ™‚計㌠00:00:06.000 ã¡ã‚‡ã†ã©ï¼–秒を指ã™ã‚ˆã†ã«ã—ã¦ã€ãƒžã‚¦ã‚¹ã‚’離ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
-msgstr "カーソルをマーカーã®ä¸Šã«ç§»å‹•ã™ã‚‹ã¨ã€é»„緑色ã‹ã‚‰ã€èµ¤è¤è‰²ï¼ˆã‚³ãƒ¼ãƒ©ãƒ«ï¼‰ã«ãªã‚Šã¾ã™ã€‚å³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'Lock' ã‚’é¸ã³ã€ãƒžãƒ¼ã‚«ãƒ¼ãŒèª¤ã£ã¦å‹•ã‹ãªã„よã†ã«ã—ã¾ã™ã€‚"
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
+msgstr ""
+"カーソルをマーカーã®ä¸Šã«ç§»å‹•ã™ã‚‹ã¨ã€é»„緑色ã‹ã‚‰ã€èµ¤è¤è‰²ï¼ˆã‚³ãƒ¼ãƒ©ãƒ«ï¼‰ã«ãªã‚Šã¾ã™ã€‚å³ã‚¯ãƒªãƒƒã‚¯ã—ã¦ã€ãƒ¡ãƒ‹ãƒ¥ãƒ¼ã‹ã‚‰ 'Lock' "
+"ã‚’é¸ã³ã€ãƒžãƒ¼ã‚«ãƒ¼ãŒèª¤ã£ã¦å‹•ã‹ãªã„よã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr "カーソルをマーカーã®ä¸Šã«ç½®ã„ã¦ã€ã‚‚ã†ä¸€åº¦ã€å³ã‚¯ãƒªãƒƒã‚¯ã—ã¾ã™ã€‚メニューã‹ã‚‰ 'Rename' ã‚’é¸æŠžã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
-msgstr "å°ã•ã„ウインドウãŒç¾ã‚Œã¾ã™ã€‚マーカーã®åå‰ã‚’ \"marimba-start\" ã¨æ›¸ã„ã¦ã€ 'Rename' をクリックã—ã¦æ–°ã—ã„åå‰ã‚’è¨å®šã—ã¾ã™ã€‚"
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
+msgstr ""
+"å°ã•ã„ウインドウãŒç¾ã‚Œã¾ã™ã€‚マーカーã®åå‰ã‚’ \"marimba-start\" ã¨æ›¸ã„ã¦ã€ 'Rename' をクリックã—ã¦æ–°ã—ã„åå‰ã‚’è¨å®šã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
-msgstr "タイムラインã®ä¸Šã§ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ä½ç½®ã®èª¿æ•´ã‚’ã€ã¨ã¦ã‚‚æ£ç¢ºã«è¡Œã†å¿…è¦ãŒã‚ã‚‹ã®ã§ã€åˆ¥ã® \"Snap/Grid Mode\" を使ã†å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ãã‚Œãžã‚Œã®è¨å®šã¯ã€ç•°ãªã‚‹ç¨®é¡žã®ä½œæ¥ã«é©ã—ã¦ã„ã¾ã™ã€‚"
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
+msgstr ""
+"タイムラインã®ä¸Šã§ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ä½ç½®ã®èª¿æ•´ã‚’ã€ã¨ã¦ã‚‚æ£ç¢ºã«è¡Œã†å¿…è¦ãŒã‚ã‚‹ã®ã§ã€åˆ¥ã® \"Snap/Grid Mode\" "
+"を使ã†å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ãã‚Œãžã‚Œã®è¨å®šã¯ã€ç•°ãªã‚‹ç¨®é¡žã®ä½œæ¥ã«é©ã—ã¦ã„ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
-msgstr "ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®ä¸Šã®ãƒ„ールãƒãƒ¼ã‚’使ã£ã¦ã€ãƒ¢ãƒ¼ãƒ‰ã‚’変更ã—ã¾ã™ã€‚ãƒãƒƒãƒ—ダウンメニューã¯ã€\"Magnetic\" ã¤ã¾ã‚Šã€ç¾åœ¨ \"Magnetic Snapping Mode\" ã«ã‚ã‚‹ã“ã¨ã‚’示ã—ã¦ã„ã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ãã®ä»–ã«ã€ \"No Grid\" 㨠\"Grid\" ãŒã‚ã‚‹ã¯ãšã§ã™ã€‚"
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgstr ""
+"ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã®ä¸Šã®ãƒ„ールãƒãƒ¼ã‚’使ã£ã¦ã€ãƒ¢ãƒ¼ãƒ‰ã‚’変更ã—ã¾ã™ã€‚ãƒãƒƒãƒ—ダウンメニューã¯ã€\"Magnetic\" ã¤ã¾ã‚Šã€ç¾åœ¨ \"Magnetic "
+"Snapping Mode\" ã«ã‚ã‚‹ã“ã¨ã‚’示ã—ã¦ã„ã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ãã®ä»–ã«ã€ \"No Grid\" 㨠\"Grid\" ãŒã‚ã‚‹ã¯ãšã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
-msgstr "No Grid: ã“ã®ãƒ¢ãƒ¼ãƒ‰ã¯ã€ãƒ¦ãƒ¼ã‚¶ãŒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ç½®ãå ´æ‰€ã‚’å®Œå…¨ã«ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ç§ãŸã¡ãŒã‚„ã‚ã†ã¨ã—ã¦ã„るよã†ãªã€ã¨ã¦ã‚‚æ£ç¢ºãªé…ç½®ã«é©ã—ã¾ã™ã€‚"
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
+msgstr ""
+"No Grid: "
+"ã“ã®ãƒ¢ãƒ¼ãƒ‰ã¯ã€ãƒ¦ãƒ¼ã‚¶ãŒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ç½®ãå ´æ‰€ã‚’å®Œå…¨ã«ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ç§ãŸã¡ãŒã‚„ã‚ã†ã¨ã—ã¦ã„るよã†ãªã€ã¨ã¦ã‚‚æ£ç¢ºãªé…ç½®ã«é©ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
-msgstr "Grid: ã“ã®ãƒ¢ãƒ¼ãƒ‰ã¯ã€ãƒ¦ãƒ¼ã‚¶ãŒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã€ã‚°ãƒªãƒƒãƒ‰ç·šã®ä¸Šã§å§‹ã¾ã‚‹ã‚ˆã†ã«ç½®ãã“ã¨ã—ã‹è¨±ã—ã¾ã›ã‚“。ã‚ãªãŸãŒå¤‰æ›´ã—ã¦ãªã„ãªã‚‰ã°ã€ã‚°ãƒªãƒƒãƒ‰ã¯ï¼’秒ã«è¨å®šã•ã‚Œã¦ã„ã‚‹ã¯ãšã§ã™ã‹ã‚‰ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ï¼’秒間隔以外ã®ã¨ã“ã‚ã‹ã‚‰é–‹å§‹ã™ã‚‹ã“ã¨ã¯ã§ãã¾ã›ã‚“。<application>Ardour</application> ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’奇数秒ã§å§‹ã‚ãŸã‚Šã€ãã®é–“ã®ã©ã“ã‹ã§å§‹ã¾ã‚‹ã‚ˆã†ã«é…ç½®ã™ã‚‹ã“ã¨ã‚’許ã—ã¾ã›ã‚“。"
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
+msgstr ""
+"Grid: "
+"ã“ã®ãƒ¢ãƒ¼ãƒ‰ã¯ã€ãƒ¦ãƒ¼ã‚¶ãŒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã€ã‚°ãƒªãƒƒãƒ‰ç·šã®ä¸Šã§å§‹ã¾ã‚‹ã‚ˆã†ã«ç½®ãã“ã¨ã—ã‹è¨±ã—ã¾ã›ã‚“。ã‚ãªãŸãŒå¤‰æ›´ã—ã¦ãªã„ãªã‚‰ã°ã€ã‚°ãƒªãƒƒãƒ‰ã¯ï¼’秒ã«è¨å®šã•ã‚Œã¦ã„ã‚‹ã¯ãšã§ã™ã‹ã‚‰ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ï¼’秒間隔以外ã®ã¨ã“ã‚ã‹ã‚‰é–‹å§‹ã™ã‚‹ã“ã¨ã¯ã§ãã¾ã›ã‚“。<application>Ardour</application>"
+" ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’奇数秒ã§å§‹ã‚ãŸã‚Šã€ãã®é–“ã®ã©ã“ã‹ã§å§‹ã¾ã‚‹ã‚ˆã†ã«é…ç½®ã™ã‚‹ã“ã¨ã‚’許ã—ã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
-msgstr "Magnetic: ã“ã®ãƒ¢ãƒ¼ãƒ‰ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã©ã“ã«ç½®ã„ã¦ã‚‚よã„ã§ã™ã€‚ã—ã‹ã—ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–‹å§‹ç‚¹ãŒã‚°ãƒªãƒƒãƒ‰ç·šï¼ˆã“ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã§ã¯å¶æ•°ç§’）ã®è¿‘ãã«ã‚ã‚‹ã¨ãã«ã¯ã€é–‹å§‹ç‚¹ã¯ã€è‡ªå‹•çš„ã«ãã®åœ°ç‚¹ã«ã€Œãã£ã¤ãã€ã¾ã™ã€‚リージョンã®é–‹å§‹ç‚¹ãŒã€ã‚°ãƒªãƒƒãƒ‰ç·šã«ã€ç£çŸ³ã§å¼•ã寄ã›ã‚‰ã‚Œã‚‹ã‚ˆã†ã«ãµã‚‹ã¾ã„ã¾ã™ã€‚"
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
+msgstr ""
+"Magnetic: "
+"ã“ã®ãƒ¢ãƒ¼ãƒ‰ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã©ã“ã«ç½®ã„ã¦ã‚‚よã„ã§ã™ã€‚ã—ã‹ã—ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–‹å§‹ç‚¹ãŒã‚°ãƒªãƒƒãƒ‰ç·šï¼ˆã“ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã§ã¯å¶æ•°ç§’）ã®è¿‘ãã«ã‚ã‚‹ã¨ãã«ã¯ã€é–‹å§‹ç‚¹ã¯ã€è‡ªå‹•çš„ã«ãã®åœ°ç‚¹ã«ã€Œãã£ã¤ãã€ã¾ã™ã€‚リージョンã®é–‹å§‹ç‚¹ãŒã€ã‚°ãƒªãƒƒãƒ‰ç·šã«ã€ç£çŸ³ã§å¼•ã寄ã›ã‚‰ã‚Œã‚‹ã‚ˆã†ã«ãµã‚‹ã¾ã„ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -2171,43 +3386,78 @@ msgstr "snap/grid モードを \"No Grid\" ã«ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
-msgstr "\"Marimba_2\" リージョンを動ã‹ã—ã¦ã€ \"marimba2\" トラックã«å…¥ã‚Œã€ \"Marimba_2\" ã®ã‚µã‚¦ãƒ³ãƒ‰ãŒã‚¿ã‚¤ãƒ ラインã®ç´„１５秒㮠(00:00:15.000) ã¨ã“ã‚ã§å§‹ã¾ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚椅åを引ããšã‚‹éŸ³ã‚’ãã®ã¾ã¾ã«ã™ã‚‹ãªã‚‰ã°ã€ã˜ã‚ƒã¾ã«ãªã‚‰ãªã„ã¨ã“ã‚ã«ç½®ãã¾ã—ょã†ã€‚\"strings\" トラック㮠\"Strings\" リージョンã®å‰ã«ç§»å‹•ã—ã¾ã™ã€‚"
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
+msgstr ""
+"\"Marimba_2\" リージョンを動ã‹ã—ã¦ã€ \"marimba2\" トラックã«å…¥ã‚Œã€ \"Marimba_2\" "
+"ã®ã‚µã‚¦ãƒ³ãƒ‰ãŒã‚¿ã‚¤ãƒ ラインã®ç´„１５秒㮠(00:00:15.000) "
+"ã¨ã“ã‚ã§å§‹ã¾ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚椅åを引ããšã‚‹éŸ³ã‚’ãã®ã¾ã¾ã«ã™ã‚‹ãªã‚‰ã°ã€ã˜ã‚ƒã¾ã«ãªã‚‰ãªã„ã¨ã“ã‚ã«ç½®ãã¾ã—ょã†ã€‚\"strings\" トラック㮠"
+"\"Strings\" リージョンã®å‰ã«ç§»å‹•ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr "\"marimba1\" 㨠\"marimba2\" ãƒã‚¹ãŒèžã“ãˆã‚‹ã‚ˆã†ã«ã€ãれらãŒä¸¡æ–¹ã¨ã‚‚ソãƒãƒ¢ãƒ¼ãƒ‰ã§ã‚ã‚‹ã®ã‚’確èªã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr "ã•ã¦ã€ã‚€ã¤ã‹ã—ã„仕事ã§ã™ã€‚ï¼’ã¤ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’並ã¹ã¦ã€ä¸€ç·’ã«å§‹ã¾ã‚‹ã‚ˆã†ã«ã—ãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
-msgstr "\"Marimba_2\" リージョンã®ã‚µã‚¦ãƒ³ãƒ‰ã¯ã€ \"Marimba_1\" トラックã®ï¼’ã¤ã‚ã®ãƒ‘ターンã€ã‚¿ã‚¤ãƒ ラインã§ç´„１５秒ã®ã¨ã“ã‚ã€ã¨åŒæ™‚ã«é–‹å§‹ã—ãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。"
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
+msgstr ""
+"\"Marimba_2\" リージョンã®ã‚µã‚¦ãƒ³ãƒ‰ã¯ã€ \"Marimba_1\" "
+"トラックã®ï¼’ã¤ã‚ã®ãƒ‘ターンã€ã‚¿ã‚¤ãƒ ラインã§ç´„１５秒ã®ã¨ã“ã‚ã€ã¨åŒæ™‚ã«é–‹å§‹ã—ãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
-msgstr "リージョンã®æ³¢å½¢ã‚’よã見るãŸã‚ã«ã€ã‚ºãƒ¼ãƒ インã™ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ã‚‚ã£ã¨é‡è¦ãªã“ã¨ã¯ã€ã‚ºãƒ¼ãƒ インã™ã‚Œã°ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é…置をより細ã‹ã調整ã§ãã¾ã™ã€‚"
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
+msgstr ""
+"リージョンã®æ³¢å½¢ã‚’よã見るãŸã‚ã«ã€ã‚ºãƒ¼ãƒ インã™ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ã‚‚ã£ã¨é‡è¦ãªã“ã¨ã¯ã€ã‚ºãƒ¼ãƒ インã™ã‚Œã°ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é…置をより細ã‹ã調整ã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
-msgstr "範囲をé¸æŠžã—ã¦ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã®ãƒ«ãƒ¼ãƒ—モードを使ã†ã¨ã‚ˆã„ã§ã—ょã†ã€‚ï¼’ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–‹å§‹ç‚¹ã‚’何度もèžã„ã¦ã€ãれらãŒãã¡ã‚“ã¨ä¸¦ã‚“ã§ã„ã‚‹ã®ã‚’確èªä¸‹ã•ã„。"
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
+msgstr ""
+"範囲をé¸æŠžã—ã¦ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã®ãƒ«ãƒ¼ãƒ—モードを使ã†ã¨ã‚ˆã„ã§ã—ょã†ã€‚ï¼’ã¤ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–‹å§‹ç‚¹ã‚’何度もèžã„ã¦ã€ãれらãŒãã¡ã‚“ã¨ä¸¦ã‚“ã§ã„ã‚‹ã®ã‚’確èªä¸‹ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr "ã ã„ãŸã„良ã„ã®ã ãŒã€ãã£ã¡ã‚Šä¸€ç·’ã¨è¨€ãˆãªã„ã¨æ„Ÿã˜ãŸã¨ãã¯ã€ä¸€åº¦ãšã£ã¨é ãã«å‹•ã‹ã—ã¦ã€èžã„ã¦ã€ãã—ã¦ã€ã¾ãŸè¿‘ã¥ã‘ã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
-msgstr "ã“ã®ãƒ‘ターンã®æœ€åˆã®ä½•ç§’ã‹ã‚’整列ã•ã›ã¦ã‚‚ã€ã„ãšã‚Œã€åŒæœŸãŒå–ã‚Œãªããªã‚‹ã§ã—ょã†ã€‚ãã‚Œã¯ã‹ã¾ã„ã¾ã›ã‚“。最åˆãŒã€æœ€ã‚‚æ°—ã«ãªã‚‹éƒ¨åˆ†ã§ã™ã€‚リスナーãŒï¼’ã¤ã®åŒæ™‚æ¼”å¥ã•ã‚Œã‚‹ãƒžãƒªãƒ³ãƒãƒˆãƒ©ãƒƒã‚¯ã®ã‚µã‚¦ãƒ³ãƒ‰ã«æ…£ã‚Œã¦ããŸé ƒã€ãã‚“ãªã«ç´°ã‹ã„注æ„ã‚’ã¯ã‚‰ã†ã“ã¨ã¯ãªããªã‚Šã¾ã™ã€‚ã•ã‚‰ã«ã€ãƒžãƒªãƒ³ãƒãƒˆãƒ©ãƒƒã‚¯ãŒåŒæœŸãŒå–ã‚Œãªããªã‚‹é ƒã«ã¯ã€ãƒªã‚¹ãƒŠãƒ¼ã¯æŒè©žã«æ³¨æ„ãŒè¡Œã£ã¦ã„ã‚‹ã“ã¨ã§ã—ょã†ã€‚"
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
+msgstr ""
+"ã“ã®ãƒ‘ターンã®æœ€åˆã®ä½•ç§’ã‹ã‚’整列ã•ã›ã¦ã‚‚ã€ã„ãšã‚Œã€åŒæœŸãŒå–ã‚Œãªããªã‚‹ã§ã—ょã†ã€‚ãã‚Œã¯ã‹ã¾ã„ã¾ã›ã‚“。最åˆãŒã€æœ€ã‚‚æ°—ã«ãªã‚‹éƒ¨åˆ†ã§ã™ã€‚リスナーãŒï¼’ã¤ã®åŒæ™‚æ¼”å¥ã•ã‚Œã‚‹ãƒžãƒªãƒ³ãƒãƒˆãƒ©ãƒƒã‚¯ã®ã‚µã‚¦ãƒ³ãƒ‰ã«æ…£ã‚Œã¦ããŸé ƒã€ãã‚“ãªã«ç´°ã‹ã„注æ„ã‚’ã¯ã‚‰ã†ã“ã¨ã¯ãªããªã‚Šã¾ã™ã€‚ã•ã‚‰ã«ã€ãƒžãƒªãƒ³ãƒãƒˆãƒ©ãƒƒã‚¯ãŒåŒæœŸãŒå–ã‚Œãªããªã‚‹é ƒã«ã¯ã€ãƒªã‚¹ãƒŠãƒ¼ã¯æŒè©žã«æ³¨æ„ãŒè¡Œã£ã¦ã„ã‚‹ã“ã¨ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
@@ -2216,18 +3466,33 @@ msgstr " \"Marimba_2\" リージョンã®ãƒãƒƒã‚¯ã‚’忘れãªã„よã†ã«ï¼"
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
-msgstr "リージョンã®æ®‹ã‚Šã‚’一緒ã«èžã„ã¦ã¿ã¾ã™ã€‚00:02:20.000 é ƒã®ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚ã‚ã‚Šã¯ã€ã‚ãªãŸãŒé–‹å§‹ã‚’æ£ã—ã並ã¹ãŸãªã‚‰ã°ã€ã“ã¡ã‚‰ã‚‚並んã§ã„ã‚‹ã¯ãšã§ã™ã€‚高音ã¨ä½ŽéŸ³ã®ãƒžãƒªãƒ³ãƒãŒäº¤ä»£ã—ã¾ã™ã€‚"
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
+msgstr ""
+"リージョンã®æ®‹ã‚Šã‚’一緒ã«èžã„ã¦ã¿ã¾ã™ã€‚00:02:20.000 "
+"é ƒã®ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚ã‚ã‚Šã¯ã€ã‚ãªãŸãŒé–‹å§‹ã‚’æ£ã—ã並ã¹ãŸãªã‚‰ã°ã€ã“ã¡ã‚‰ã‚‚並んã§ã„ã‚‹ã¯ãšã§ã™ã€‚高音ã¨ä½ŽéŸ³ã®ãƒžãƒªãƒ³ãƒãŒäº¤ä»£ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
-msgstr "\"Marimba_3\" リージョンをã€\"marimba1\" トラックã®ç´„ 00:03:20.000 ã«é–‹å§‹ã™ã‚‹ã‚ˆã†ã«ç§»å‹•ã—ã¾ã™ã€‚最終的ãªé…ç½®ã¯å¾Œã§æ±ºã‚ã¾ã™ã€‚"
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
+msgstr ""
+"\"Marimba_3\" リージョンをã€\"marimba1\" トラックã®ç´„ 00:03:20.000 "
+"ã«é–‹å§‹ã™ã‚‹ã‚ˆã†ã«ç§»å‹•ã—ã¾ã™ã€‚最終的ãªé…ç½®ã¯å¾Œã§æ±ºã‚ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
-msgstr "\"Marimba_4\" リージョンをã€\"Marimba_3\" リージョンã¨ã ã„ãŸã„åŒã˜æ™‚刻ã«å§‹ã¾ã‚‹ã‚ˆã†ã«ã€ã“ã¡ã‚‰ã¯ã€ \"marimba2\" トラックã«ã€ç§»å‹•ã—ã¾ã™ã€‚最終的ãªé…ç½®ã¯å¾Œã§æ±ºã‚ã¾ã™ã€‚"
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
+msgstr ""
+"\"Marimba_4\" リージョンをã€\"Marimba_3\" リージョンã¨ã ã„ãŸã„åŒã˜æ™‚刻ã«å§‹ã¾ã‚‹ã‚ˆã†ã«ã€ã“ã¡ã‚‰ã¯ã€ \"marimba2\" "
+"トラックã«ã€ç§»å‹•ã—ã¾ã™ã€‚最終的ãªé…ç½®ã¯å¾Œã§æ±ºã‚ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -2236,53 +3501,95 @@ msgstr "ボイスリージョンã®ç¶šã"
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
-msgstr "ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã®ã‚ã„ã ã˜ã‚…ã†ã€é…ç½®ãŒæ±ºã¾ã£ã¦ã„ãªã„リージョンをã€ä»–ã®æ•´åˆ—処ç†ã«ã˜ã‚ƒã¾ã«ãªã‚‰ãªã„よã†ã«ã©ã‘ã‚‹ã“ã¨ãŒå¿…è¦ã«ãªã‚‹ã§ã—ょã†ã€‚リージョンをæ£ã—ã„ä½ç½®ã«ç½®ã„ãŸã‚‰ã€ãƒãƒƒã‚¯ã™ã‚‹ã®ã‚’忘れãªã„ã§ãã ã•ã„。後ã‹ã‚‰ã€ã‚¢ãƒ³ãƒãƒƒã‚¯ã—ã¦ã€ä¸¦ã¹ç›´ã™ã“ã¨ã‚‚ã§ãã¾ã™ã€‚ã¾ãŸã€ãƒžãƒ¼ã‚«ãƒ¼ï¼ˆå‰ã«ä½¿ã£ãŸ \"marimba-start\" マーカーã®ã‚ˆã†ã«ï¼‰ã‚’ã€ãã‚Œãžã‚Œã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–‹å§‹ç‚¹ã«ç½®ãã¨è‰¯ã„ã§ã—ょã†ã€‚マーカーを置ã‘ã°ã€ãれをクリックã—ã¦ã€é’色ã®ãƒ—レースマーカーラインを動ã‹ã™ã“ã¨ãŒã§ãã¾ã™ã€‚ã“ã†ã™ã‚Œã°ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ä¸ã®ã‚µã‚¦ãƒ³ãƒ‰ã®é–‹å§‹ç‚¹ã‚’好ããªã¨ã“ã‚ã«æƒãˆã¦ä¸¦ã¹ã‚‹ã®ãŒç°¡å˜ã§ã™ã€‚"
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
+msgstr ""
+"ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã®ã‚ã„ã ã˜ã‚…ã†ã€é…ç½®ãŒæ±ºã¾ã£ã¦ã„ãªã„リージョンをã€ä»–ã®æ•´åˆ—処ç†ã«ã˜ã‚ƒã¾ã«ãªã‚‰ãªã„よã†ã«ã©ã‘ã‚‹ã“ã¨ãŒå¿…è¦ã«ãªã‚‹ã§ã—ょã†ã€‚リージョンをæ£ã—ã„ä½ç½®ã«ç½®ã„ãŸã‚‰ã€ãƒãƒƒã‚¯ã™ã‚‹ã®ã‚’忘れãªã„ã§ãã ã•ã„。後ã‹ã‚‰ã€ã‚¢ãƒ³ãƒãƒƒã‚¯ã—ã¦ã€ä¸¦ã¹ç›´ã™ã“ã¨ã‚‚ã§ãã¾ã™ã€‚ã¾ãŸã€ãƒžãƒ¼ã‚«ãƒ¼ï¼ˆå‰ã«ä½¿ã£ãŸ"
+" \"marimba-start\" "
+"マーカーã®ã‚ˆã†ã«ï¼‰ã‚’ã€ãã‚Œãžã‚Œã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®é–‹å§‹ç‚¹ã«ç½®ãã¨è‰¯ã„ã§ã—ょã†ã€‚マーカーを置ã‘ã°ã€ãれをクリックã—ã¦ã€é’色ã®ãƒ—レースマーカーラインを動ã‹ã™ã“ã¨ãŒã§ãã¾ã™ã€‚ã“ã†ã™ã‚Œã°ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ä¸ã®ã‚µã‚¦ãƒ³ãƒ‰ã®é–‹å§‹ç‚¹ã‚’好ããªã¨ã“ã‚ã«æƒãˆã¦ä¸¦ã¹ã‚‹ã®ãŒç°¡å˜ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr "\"voice\" ãƒã‚¹ã§ã€ \"solo\" モードを有効ã«ã—ã¦ã€ãƒžãƒªãƒ³ãƒãƒã‚¹ã¨ä¸€ç·’ã«èžã‘るよã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr "\"Voice_1\" リージョンを動ã‹ã—ã¦ã€æŒæ‰‹ãŒé«˜éŸ³ã®ãƒžãƒªãƒ³ãƒã¨ã»ã¼åŒã˜ã«é–‹å§‹ã™ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr "\"Voice_2\" リージョンを動ã‹ã—ã¦ã€æŒæ‰‹ãŒã€ç´„ <literal>00:00:48.00</literal> ã«é–‹å§‹ã™ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
-msgstr "\"ens-Here_Is_How-1\" リージョンを動ã‹ã—ã¦ã€ç´„ <literal>00:01:33.300</literal> ã«æŒã„出ã™ã‚ˆã†ã«ã—ã¾ã™ã€‚"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
+msgstr ""
+"\"ens-Here_Is_How-1\" リージョンを動ã‹ã—ã¦ã€ç´„ <literal>00:01:33.300</literal> "
+"ã«æŒã„出ã™ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
-msgstr "\"ens-Here_Is_How-2\" (ã¨ã€çµåˆã•ã‚ŒãŸ \"ens-Here_Is_How-3\" ã‚‚) リージョンを動ã‹ã—ã¦ã€ç´„ <literal>00:02:11.500</literal> ã«æŒã„出ã™ã‚ˆã†ã«ã—ã¾ã™ã€‚"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgstr ""
+"\"ens-Here_Is_How-2\" (ã¨ã€çµåˆã•ã‚ŒãŸ \"ens-Here_Is_How-3\" ã‚‚) リージョンを動ã‹ã—ã¦ã€ç´„ "
+"<literal>00:02:11.500</literal> ã«æŒã„出ã™ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
-msgstr "\"Voice_3\" 㨠\"Voice_4\" をよãèžãã¨ã€\"Voice_4\" ã§æŒæ‰‹ãŒæŒè©žã‚’抜ã‹ã—㟠(\"plan <emphasis>in</emphasis> you spider's ear\") ã®ã«æ°—ãŒã¤ãã§ã—ょã†ã€‚ \"Voice_3\" ã«ã¯ã€ \"Voice_4\" ã®ï¼’ã¤ã‚ã®ãƒ‘ートãŒå«ã¾ã‚Œãªã„ã®ã§ã€ \"Voice_4\" リージョンを切り詰ã‚ã¦ã€ä¸¡æ–¹ã‚’使ã†å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgstr ""
+"\"Voice_3\" 㨠\"Voice_4\" をよãèžãã¨ã€\"Voice_4\" ã§æŒæ‰‹ãŒæŒè©žã‚’抜ã‹ã—㟠(\"plan "
+"<emphasis>in</emphasis> you spider's ear\") ã®ã«æ°—ãŒã¤ãã§ã—ょã†ã€‚ \"Voice_3\" ã«ã¯ã€ "
+"\"Voice_4\" ã®ï¼’ã¤ã‚ã®ãƒ‘ートãŒå«ã¾ã‚Œãªã„ã®ã§ã€ \"Voice_4\" リージョンを切り詰ã‚ã¦ã€ä¸¡æ–¹ã‚’使ã†å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr "æŒæ‰‹ã¯ã€ \"Voice_3\" ã®ç´„ <literal>00:02:24.500</literal> ã«é–‹å§‹ã™ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
-msgstr "æŒæ‰‹ã¯ã€\"Voice_4\" ã®ã€ç´„ <literal>00:02:43.000</literal> ã«ã€ \"and here is how\" ã¨æŒã„始ã‚るよã†ã«ã—ã¾ã™ã€‚"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
+msgstr ""
+"æŒæ‰‹ã¯ã€\"Voice_4\" ã®ã€ç´„ <literal>00:02:43.000</literal> ã«ã€ \"and here is how\" "
+"ã¨æŒã„始ã‚るよã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
-msgstr "\"ens-Create_the_Inconceivable\" リージョンを動ã‹ã—ã¦ã€ç´„ <literal>00:02:59.000</literal> ã«é–‹å§‹ã™ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
+msgstr ""
+"\"ens-Create_the_Inconceivable\" リージョンを動ã‹ã—ã¦ã€ç´„ "
+"<literal>00:02:59.000</literal> ã«é–‹å§‹ã™ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -2291,38 +3598,65 @@ msgstr "マリンãƒã®çµ‚ã‚ã‚Šã‚’ãã‚ãˆã‚‹"
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr "ã™ã¹ã¦ã®æŒæ‰‹ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã€ã»ã¼ä¸¦ã¹çµ‚ã‚ã£ãŸã®ã§ã€æœ€å¾Œã®ãƒžãƒªãƒ³ãƒã®ãƒ‘ッセージをã©ã“ã«ç½®ãã‹ã‚’考ãˆã¾ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
-msgstr "\"ens-Create_the_Inconceivable\" リージョンをèžãã¾ã™ã€‚マリンãƒã®çµ‚了リージョンをã€æœ€é«˜éŸ³ã®æŒæ‰‹ãŒ \"if you know what I mean\" ã¨æŒã£ãŸå¾Œã€\"mean\" ã¨ã„ã†èªžã‚’æŒã„終ã‚ã‚‹å‰ã®ã©ã“ã‹ã«ç½®ãã¾ã™ã€‚"
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgstr ""
+"\"ens-Create_the_Inconceivable\" リージョンをèžãã¾ã™ã€‚マリンãƒã®çµ‚了リージョンをã€æœ€é«˜éŸ³ã®æŒæ‰‹ãŒ \"if you "
+"know what I mean\" ã¨æŒã£ãŸå¾Œã€\"mean\" ã¨ã„ã†èªžã‚’æŒã„終ã‚ã‚‹å‰ã®ã©ã“ã‹ã«ç½®ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
-msgstr "マリンãƒã‚’å†é–‹å§‹ã™ã‚‹æ£ç¢ºãªã¨ã“ã‚ã¯ã€ã‚ãªãŸãŒæ±ºã‚ã‚Œã°ã‚ˆã„ã§ã™ã€‚ä½ç½®ã‚’決ã‚ã¦ã€ï¼’ã¤ã® \"Marimba_3\" リージョンを〠\"marimba1\" ã®ãã®å ´æ‰€ã«å‹•ã‹ã—〠\"Marimba_4\" リージョンを \"marimba2\" ã§å‹•ã‹ã—ã¾ã™ã€‚"
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
+msgstr ""
+"マリンãƒã‚’å†é–‹å§‹ã™ã‚‹æ£ç¢ºãªã¨ã“ã‚ã¯ã€ã‚ãªãŸãŒæ±ºã‚ã‚Œã°ã‚ˆã„ã§ã™ã€‚ä½ç½®ã‚’決ã‚ã¦ã€ï¼’ã¤ã® \"Marimba_3\" リージョンを〠\"marimba1\""
+" ã®ãã®å ´æ‰€ã«å‹•ã‹ã—〠\"Marimba_4\" リージョンを \"marimba2\" ã§å‹•ã‹ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr "æ£ç¢ºãªæ•´åˆ—ã‚’ã™ã‚‹ãŸã‚ã«ã€ç¯„囲をè¨å®šã—ã€ãƒˆãƒ©ãƒ³ã‚¹ãƒãƒ¼ãƒˆã®ãƒ«ãƒ¼ãƒ—機能を使ã†ã¨è‰¯ã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
-msgstr "ã“ã®ç‰¹åˆ¥ãªé–‹å§‹ç‚¹ã¯ã€é›£ã—ã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。低音ã®ãƒžãƒªãƒ³ãƒã¯é™ã‹ã«å§‹ã¾ã£ã¦ã€ã—ã ã„ã«å¤§ãããªã‚Šã¾ã™ã€‚一方ã€é«˜éŸ³ã®ãƒžãƒªãƒ³ãƒã¯ã€å¤§ããªéŸ³ãŒæ¸›è¡°ã—ã¦ã„ãã¨ã“ã‚ã§ã™ã€‚ã¨ã„ã†ã“ã¨ã¯ã€ã‚‚ã—両方ã®ãƒžãƒªãƒ³ãƒãƒˆãƒ©ãƒƒã‚¯ã‚’åŒæ™‚ã«é–‹å§‹ã™ã‚‹ã¨ã€ãƒªã‚¹ãƒŠãƒ¼ã¯ã€ä½ŽéŸ³ãƒˆãƒ©ãƒƒã‚¯ãŒã€é«˜éŸ³ãƒˆãƒ©ãƒƒã‚¯ã®å¾Œã«é–‹å§‹ã™ã‚‹ã‚ˆã†ã«æ„Ÿã˜ã¾ã™ã€‚ç§ã®è¨€ã†ã“ã¨ãŒä¿¡ã˜ã‚‰ã‚Œãªã„ãªã‚‰ã€ã‚„ã£ã¦ã”覧ãªã•ã„。"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
+msgstr ""
+"ã“ã®ç‰¹åˆ¥ãªé–‹å§‹ç‚¹ã¯ã€é›£ã—ã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。低音ã®ãƒžãƒªãƒ³ãƒã¯é™ã‹ã«å§‹ã¾ã£ã¦ã€ã—ã ã„ã«å¤§ãããªã‚Šã¾ã™ã€‚一方ã€é«˜éŸ³ã®ãƒžãƒªãƒ³ãƒã¯ã€å¤§ããªéŸ³ãŒæ¸›è¡°ã—ã¦ã„ãã¨ã“ã‚ã§ã™ã€‚ã¨ã„ã†ã“ã¨ã¯ã€ã‚‚ã—両方ã®ãƒžãƒªãƒ³ãƒãƒˆãƒ©ãƒƒã‚¯ã‚’åŒæ™‚ã«é–‹å§‹ã™ã‚‹ã¨ã€ãƒªã‚¹ãƒŠãƒ¼ã¯ã€ä½ŽéŸ³ãƒˆãƒ©ãƒƒã‚¯ãŒã€é«˜éŸ³ãƒˆãƒ©ãƒƒã‚¯ã®å¾Œã«é–‹å§‹ã™ã‚‹ã‚ˆã†ã«æ„Ÿã˜ã¾ã™ã€‚ç§ã®è¨€ã†ã“ã¨ãŒä¿¡ã˜ã‚‰ã‚Œãªã„ãªã‚‰ã€ã‚„ã£ã¦ã”覧ãªã•ã„。"
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr "ã“ã®å•é¡Œã‚’解決ã™ã‚‹ãŸã‚ã€ã‚ªãƒªã‚¸ãƒŠãƒ«ç·¨é›†è€… (Esther) ã¯ã€é«˜éŸ³ã®ãƒžãƒªãƒ³ãƒãŒä½ŽéŸ³ã®ãƒžãƒªãƒ³ãƒã‚ˆã‚Šå°‘ã—é…ã開始ã™ã‚‹ã‚ˆã†ã«ã—ã¾ã—ãŸã€‚"
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
-msgstr "今ã¾ã§ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’èžãã¨ã‚ã‹ã‚Šã¾ã™ãŒã€ãƒžãƒªãƒ³ãƒãŒã€æŒæ‰‹ã¨æ¯”ã¹ã‚‹ã¨ãšã£ã¨å¤§ããã€å…¨ä½“ãŒã¨ã¦ã‚‚ç‹ã„æ„Ÿã˜ã«èžã“ãˆã‚‹ã‹ã¨æ€ã„ã¾ã™ã€‚ã“ã‚Œã¯ã€ç§ãŸã¡ãŒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’並ã¹ãŸã ã‘ã§ã€ã¾ã ミã‚シングを何もã—ã¦ã„ãªã„ã‹ã‚‰ã§ã™ï¼"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
+msgstr ""
+"今ã¾ã§ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’èžãã¨ã‚ã‹ã‚Šã¾ã™ãŒã€ãƒžãƒªãƒ³ãƒãŒã€æŒæ‰‹ã¨æ¯”ã¹ã‚‹ã¨ãšã£ã¨å¤§ããã€å…¨ä½“ãŒã¨ã¦ã‚‚ç‹ã„æ„Ÿã˜ã«èžã“ãˆã‚‹ã‹ã¨æ€ã„ã¾ã™ã€‚ã“ã‚Œã¯ã€ç§ãŸã¡ãŒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’並ã¹ãŸã ã‘ã§ã€ã¾ã ミã‚シングを何もã—ã¦ã„ãªã„ã‹ã‚‰ã§ã™ï¼"
#. Tag: title
#, no-c-format
@@ -2331,18 +3665,35 @@ msgstr "弦楽器リージョンを並ã¹ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
-msgstr "\"Strings_1A\" リージョンを動ã‹ã—ã¦ã€ç´„ 00:00:28.00 ã‹ã‚‰å§‹ã¾ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚ãã†ã™ã‚Œã°ã€æ¤…åã®éŸ³ã€ãれを消ã•ãªã„ãªã‚‰ã°ã€ã«å分ãªã‚¹ãƒšãƒ¼ã‚¹ãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
+msgstr ""
+"\"Strings_1A\" リージョンを動ã‹ã—ã¦ã€ç´„ 00:00:28.00 "
+"ã‹ã‚‰å§‹ã¾ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚ãã†ã™ã‚Œã°ã€æ¤…åã®éŸ³ã€ãれを消ã•ãªã„ãªã‚‰ã°ã€ã«å分ãªã‚¹ãƒšãƒ¼ã‚¹ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
-msgstr "\"Strings_4\" リージョンã®å§‹ã¾ã‚Šã¯ã€ \"Strings_1A\" リージョンã®çµ‚ã‚ã‚Šã¨ã»ã¼åŒã˜ã§ã™ã€‚両方をèžã„ã¦ã€ã©ã£ã¡ãŒå¥½ãã‹æ±ºã‚ã€\"Strings_1A\" リージョンã®ä¸ã®ã‚µã‚¦ãƒ³ãƒ‰ã®ä½ç½®ã‚’使ã£ã¦ã€ \"Strings_4\" リージョンã®åˆ‡ã‚Šè©°ã‚ã¨æ•´åˆ—ã®ã‚¬ã‚¤ãƒ‰ã¨ã—ã¦ãã ã•ã„。"
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
+msgstr ""
+"\"Strings_4\" リージョンã®å§‹ã¾ã‚Šã¯ã€ \"Strings_1A\" "
+"リージョンã®çµ‚ã‚ã‚Šã¨ã»ã¼åŒã˜ã§ã™ã€‚両方をèžã„ã¦ã€ã©ã£ã¡ãŒå¥½ãã‹æ±ºã‚ã€\"Strings_1A\" リージョンã®ä¸ã®ã‚µã‚¦ãƒ³ãƒ‰ã®ä½ç½®ã‚’使ã£ã¦ã€ "
+"\"Strings_4\" リージョンã®åˆ‡ã‚Šè©°ã‚ã¨æ•´åˆ—ã®ã‚¬ã‚¤ãƒ‰ã¨ã—ã¦ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
-msgstr "ä»–ã®ï¼’ã¤ã®å¼¦æ¥½å™¨ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ \"Strings_1A\" ã¨åŒã˜æ›²ãŒå…¥ã£ã¦ã„ã¾ã™ã€‚ã©ã‚Œã‚’使ã†ã‹ã¾ã 決ã‚られãªã„ã®ã§ã€ãれらをã€ãƒžãƒªãƒ³ãƒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚了点ã®å¾Œã‚ã«ç§»å‹•ã—ã¦ã€èžã“ãˆãªã„よã†ã«ã—ã¾ã™ã€‚"
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
+msgstr ""
+"ä»–ã®ï¼’ã¤ã®å¼¦æ¥½å™¨ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ \"Strings_1A\" "
+"ã¨åŒã˜æ›²ãŒå…¥ã£ã¦ã„ã¾ã™ã€‚ã©ã‚Œã‚’使ã†ã‹ã¾ã 決ã‚られãªã„ã®ã§ã€ãれらをã€ãƒžãƒªãƒ³ãƒãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®çµ‚了点ã®å¾Œã‚ã«ç§»å‹•ã—ã¦ã€èžã“ãˆãªã„よã†ã«ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -2351,17 +3702,26 @@ msgstr "クラリãƒãƒƒãƒˆãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’並ã¹ã‚‹"
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
-msgstr "弦楽器リージョンã¨åŒã˜ãã€é©å½“ãªã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’１ã¤é¸ã‚“ã§ã€æ£ã—ã„ä½ç½®ã«ç½®ãã¾ã—ょã†ã€‚複数ã®æ¼”å¥ã®é–“ã®é¸æŠžã¯å¾Œå›žã—ã«ã—ã¾ã™ã€‚ã“ã‚“ãªãµã†ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’大ãã離れã¦å‹•ã‹ã™ã¨ãã¯ã€å°‘ã—ズームアウトã™ã‚‹ã¨ã‚ˆã„ã§ã™ã€‚"
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
+msgstr ""
+"弦楽器リージョンã¨åŒã˜ãã€é©å½“ãªã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’１ã¤é¸ã‚“ã§ã€æ£ã—ã„ä½ç½®ã«ç½®ãã¾ã—ょã†ã€‚複数ã®æ¼”å¥ã®é–“ã®é¸æŠžã¯å¾Œå›žã—ã«ã—ã¾ã™ã€‚ã“ã‚“ãªãµã†ã«ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’大ãã離れã¦å‹•ã‹ã™ã¨ãã¯ã€å°‘ã—ズームアウトã™ã‚‹ã¨ã‚ˆã„ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr "\"Clarinet_1A\" リージョンを動ã‹ã—ã¦ã€ã‚µã‚¦ãƒ³ãƒ‰ãŒ 00:01:06.200 ã®å¾Œã«å§‹ã¾ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr "\"Clarinet_3A\" リージョンを動ã‹ã—ã¦ã€ã‚µã‚¦ãƒ³ãƒ‰ãŒ 00:01:35.000 ã®å¾Œã«å§‹ã¾ã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚"
#. Tag: title
@@ -2371,8 +3731,13 @@ msgstr "èžã"
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
-msgstr "ミã‚シング段階ã«é€²ã‚€å‰ã«ã€æ›²å…¨ä½“ã‚’èžã„ã¦ã€ä¸¦ã³æ›¿ãˆãŒæ£ã—ã„ã“ã¨ã‚’確èªä¸‹ã•ã„。èžãã¨ãã«ã¯ã€ãƒœãƒªãƒ¥ãƒ¼ãƒ レベルã¨ãƒãƒ©ãƒ³ã‚¹ãŒå¤‰ã§ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³å…¨ä½“ãŒã€ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã®ä¸ã§ã¨ã¦ã‚‚ã€ã€Œä¸å¿ƒã«ã‚ã‚‹ã€ã‚ˆã†ã«èžã“ãˆã‚‹ã®ã«æ³¨æ„ãã ã•ã„。"
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
+msgstr ""
+"ミã‚シング段階ã«é€²ã‚€å‰ã«ã€æ›²å…¨ä½“ã‚’èžã„ã¦ã€ä¸¦ã³æ›¿ãˆãŒæ£ã—ã„ã“ã¨ã‚’確èªä¸‹ã•ã„。èžãã¨ãã«ã¯ã€ãƒœãƒªãƒ¥ãƒ¼ãƒ レベルã¨ãƒãƒ©ãƒ³ã‚¹ãŒå¤‰ã§ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³å…¨ä½“ãŒã€ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã®ä¸ã§ã¨ã¦ã‚‚ã€ã€Œä¸å¿ƒã«ã‚ã‚‹ã€ã‚ˆã†ã«èžã“ãˆã‚‹ã®ã«æ³¨æ„ãã ã•ã„。"
#. Tag: title
#, no-c-format
@@ -2381,18 +3746,42 @@ msgstr "曲をミã‚シングã™ã‚‹ï¼ˆãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ï¼‰"
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
-msgstr "次ã®æ®µéšŽã¯ã€ŒãƒŸã‚シングã€ã¨å‘¼ã°ã‚Œã€ã ã„ãŸã„ï¼’ã¤ã®ä½œæ¥ã‹ã‚‰ãªã‚Šã¾ã™ã€‚ボリュームレベルをè¨å®šã™ã‚‹ã“ã¨ã¨ã€ã‚¹ãƒ†ãƒ¬ã‚ªãƒ‘ンè¨å®šã‚’調整ã™ã‚‹ã“ã¨ã§ã™ã€‚フェーダーã¨ãƒ‘ンã®è¨å®šã‚’ä¿å˜ã™ã‚‹ã®ã«ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã‚’使ã„ã¾ã™ã€‚ã¾ãŸã€å³ã¨å·¦ã®ãƒãƒ£ãƒãƒ«ã‚’別々ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã—ã¦ã€ã‚µãƒ–マスターãƒã‚¹ã§çµåˆã•ã›ã‚‹ã®ãŒã€ã©ã‚“ãªã«ä¾¿åˆ©ã‹ã€è¦‹ã¦ãã ã•ã„。"
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
+msgstr ""
+"次ã®æ®µéšŽã¯ã€ŒãƒŸã‚シングã€ã¨å‘¼ã°ã‚Œã€ã ã„ãŸã„ï¼’ã¤ã®ä½œæ¥ã‹ã‚‰ãªã‚Šã¾ã™ã€‚ボリュームレベルをè¨å®šã™ã‚‹ã“ã¨ã¨ã€ã‚¹ãƒ†ãƒ¬ã‚ªãƒ‘ンè¨å®šã‚’調整ã™ã‚‹ã“ã¨ã§ã™ã€‚フェーダーã¨ãƒ‘ンã®è¨å®šã‚’ä¿å˜ã™ã‚‹ã®ã«ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã‚’使ã„ã¾ã™ã€‚ã¾ãŸã€å³ã¨å·¦ã®ãƒãƒ£ãƒãƒ«ã‚’別々ã®ãƒˆãƒ©ãƒƒã‚¯ã«éŒ²éŸ³ã—ã¦ã€ã‚µãƒ–マスターãƒã‚¹ã§çµåˆã•ã›ã‚‹ã®ãŒã€ã©ã‚“ãªã«ä¾¿åˆ©ã‹ã€è¦‹ã¦ãã ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
-msgstr "ライブã®éŸ³æ¥½æ¼”å¥ã®éŒ²éŸ³åˆ¶ä½œã«ãŠã„ã¦ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæŠ€è¡“者（今ã®å ´åˆã€ã‚ãªãŸï¼‰ãŒã‚‚ã£ã¨ã‚‚å‰µé€ çš„ãªå½±éŸ¿ã‚’åŠã¼ã™ã®ãŒã€ãƒŸã‚シング段階ã§ã™ã€‚トラックã®æ³¨æ„æ·±ã„調整ã¨ãƒãƒ¥ãƒ¼ãƒ‹ãƒ³ã‚°ãŒã€ãƒªã‚¹ãƒŠãƒ¼ã®ä½“験ã«å¤§ããªé•ã„ã‚’ã‚‚ãŸã‚‰ã—ã¾ã™ã€‚"
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
+msgstr ""
+"ライブã®éŸ³æ¥½æ¼”å¥ã®éŒ²éŸ³åˆ¶ä½œã«ãŠã„ã¦ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæŠ€è¡“者（今ã®å ´åˆã€ã‚ãªãŸï¼‰ãŒã‚‚ã£ã¨ã‚‚å‰µé€ çš„ãªå½±éŸ¿ã‚’åŠã¼ã™ã®ãŒã€ãƒŸã‚シング段階ã§ã™ã€‚トラックã®æ³¨æ„æ·±ã„調整ã¨ãƒãƒ¥ãƒ¼ãƒ‹ãƒ³ã‚°ãŒã€ãƒªã‚¹ãƒŠãƒ¼ã®ä½“験ã«å¤§ããªé•ã„ã‚’ã‚‚ãŸã‚‰ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
-msgstr "最後ã«ã€ç·¨é›†æ®µéšŽã¨æ¯”ã¹ã¦ã€ãƒŸã‚シング段階ã¯ã€ç›´ç·šçš„ã«é€²è¡Œã™ã‚‹ã®ã§ã¯<emphasis>ãªã„</emphasis> ã¨ã„ã†ã“ã¨ã«æ³¨æ„ãã ã•ã„。ã¤ã¾ã‚Šã€ã‚ãªãŸã¯ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã‚’最åˆã‹ã‚‰æœ€å¾Œã¾ã§é †ã«ã™ã‚‹ã®ã§ãªãã¦ã€ã‚»ã‚¯ã‚·ãƒ§ãƒ³é–“をジャンプã™ã‚‹ã®ãŒã‚ˆã„ã€ã¨ã„ã†ã“ã¨ã§ã™ã€‚ã‚ãªãŸã¯ã¾ãšæœ€åˆã«ã€ã‚¹ãƒ†ãƒ¬ã‚ªå‡ºåŠ›ã®ãŸã‚ã«ãƒˆãƒ©ãƒƒã‚¯ã‚’è¨å®šã™ã‚‹ã§ã—ょã†ã€æ¬¡ã«ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã‚’é †ã«å…¨éƒ¨èªã‚“ã§ã€ãã®ã‚¢ãƒ‰ãƒã‚¤ã‚¹ã«å¾“ã†ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ã—ã‹ã—ã€æ™‚々ã€å‰ã®ä½œæ¥ã«æˆ»ã£ã¦ã€è¨å®šã‚’ã‚„ã‚Šç›´ã™ã“ã¨ã«ãªã‚‹ã§ã—ょã†ã€‚１ã¤ã®è¨å®šãŒå¤‰æ›´ã•ã‚ŒãŸã‚‰ã€ä»–ã®è¨å®šã«ã‚‚影響ãŒå‡ºã‚‹ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚例ãˆã°ã€ä¸€åº¦ãƒˆãƒ©ãƒƒã‚¯ã®ãƒ¬ãƒ™ãƒ«ã‚’è¨å®šã—ã€ãã®ãƒ‘ニングを変更ã—ãŸã‚‰ã€è¨å®šã—ãŸãƒ¬ãƒ™ãƒ«ãŒä»Šã§ã‚‚ãã‚Œã§ã‚ˆã„ã®ã‹ã‚’確ã‹ã‚ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ãŸã¶ã‚“ã€å°‘ã—ã‹ã‚
‚ã—ã‚Œã¾ã›ã‚“ãŒã€èª¿æ•´ãŒå¿…è¦ã§ã—ょã†ã€‚"
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
+msgstr ""
+"最後ã«ã€ç·¨é›†æ®µéšŽã¨æ¯”ã¹ã¦ã€ãƒŸã‚シング段階ã¯ã€ç›´ç·šçš„ã«é€²è¡Œã™ã‚‹ã®ã§ã¯<emphasis>ãªã„</emphasis> "
+"ã¨ã„ã†ã“ã¨ã«æ³¨æ„ãã ã•ã„。ã¤ã¾ã‚Šã€ã‚ãªãŸã¯ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã‚’最åˆã‹ã‚‰æœ€å¾Œã¾ã§é †ã«ã™ã‚‹ã®ã§ãªãã¦ã€ã‚»ã‚¯ã‚·ãƒ§ãƒ³é–“をジャンプã™ã‚‹ã®ãŒã‚ˆã„ã€ã¨ã„ã†ã“ã¨ã§ã™ã€‚ã‚ãªãŸã¯ã¾ãšæœ€åˆã«ã€ã‚¹ãƒ†ãƒ¬ã‚ªå‡ºåŠ›ã®ãŸã‚ã«ãƒˆãƒ©ãƒƒã‚¯ã‚’è¨å®šã™ã‚‹ã§ã—ょã†ã€æ¬¡ã«ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã‚’é †ã«å…¨éƒ¨èªã‚“ã§ã€ãã®ã‚¢ãƒ‰ãƒã‚¤ã‚¹ã«å¾“ã†ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ã—ã‹ã—ã€æ™‚々ã€å‰ã®ä½œæ¥ã«æˆ»ã£ã¦ã€è¨å®šã‚’ã‚„ã‚Šç›´ã™ã“ã¨ã«ãªã‚‹ã§ã—ょã†ã€‚１ã¤ã®è¨å®šãŒå¤‰æ›´ã•ã‚ŒãŸã‚‰ã€ä»–ã®è¨å®šã«ã‚‚影響ãŒå‡ºã‚‹ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚例ãˆã°ã€ä¸€åº¦ãƒˆãƒ©ãƒƒã‚¯ã®ãƒ¬ãƒ™ãƒ«ã‚’è¨å®šã—ã€ãã®ãƒ‘ニングを変更ã—ãŸã‚‰ã€è¨å®šã—ãŸãƒ¬ãƒ™ãƒ«ãŒä»Šã§ã‚‚ãã‚Œã§ã‚ˆã„ã®ã‹ã‚’確ã‹ã‚ã‚‹å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚ãŸã¶ã‚“ã€å°‘ã—ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“ãŒã€èª¿æ•´ãŒå¿…è¦ã§ã—ょã†ã€‚"
#. Tag: title
#, no-c-format
@@ -2401,22 +3790,42 @@ msgstr "ステレオ出力ã®ãŸã‚ã«ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®è¨å®šã‚’è¡Œã„ã€ã‚¨ãƒ‡
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
-msgstr "セッションãŒãšã„ã¶ã‚“変ã«èžã“ãˆãŸç†ç”±ã®ã²ã¨ã¤ã¯ã€ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãŒå·¦ã¨å³ã®ãƒãƒ£ãƒãƒ«ã‚’ç‰ã—ã経由ã—ãŸãŸã‚ã€ã€Œã‚¹ãƒ†ãƒ¬ã‚ªã€éŒ²éŸ³ç´ æãŒã‚ã‚‹ã«ã‚‚ã‹ã‹ã‚らãšã€ã€Œãƒ¢ãƒŽãƒ©ãƒ«ã€éŒ²éŸ³ã«ãªã£ã¦ã—ã¾ã£ãŸã“ã¨ã§ã™ã€‚ã“ã‚Œã¯ã‚‚ã£ã¨å‰ã«å¯¾ç–ã§ããŸã®ã§ã™ãŒã€ä»Šã‚„ã£ã¦ã‚‚ã€å¤§å·®ã¯ã‚ã‚Šã¾ã›ã‚“。今ã¾ã§ã®ä½œæ¥ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’集ã‚ã¦ãれらã—ã„曲ã«èžã“ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã“ã¨ã§ã—ãŸãŒã€ãƒŸã‚シングãŒè¡Œã†ã®ã¯ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¨ãƒˆãƒ©ãƒƒã‚¯ã‚’微調整ã—ã¦ã€æ›²ãŒã‚ˆã‚Šå„ªã‚ŒãŸã‚‚ã®ã«èžã“ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã“ã¨ã§ã™ã€‚"
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
+msgstr ""
+"セッションãŒãšã„ã¶ã‚“変ã«èžã“ãˆãŸç†ç”±ã®ã²ã¨ã¤ã¯ã€ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãŒå·¦ã¨å³ã®ãƒãƒ£ãƒãƒ«ã‚’ç‰ã—ã経由ã—ãŸãŸã‚ã€ã€Œã‚¹ãƒ†ãƒ¬ã‚ªã€éŒ²éŸ³ç´ æãŒã‚ã‚‹ã«ã‚‚ã‹ã‹ã‚らãšã€ã€Œãƒ¢ãƒŽãƒ©ãƒ«ã€éŒ²éŸ³ã«ãªã£ã¦ã—ã¾ã£ãŸã“ã¨ã§ã™ã€‚ã“ã‚Œã¯ã‚‚ã£ã¨å‰ã«å¯¾ç–ã§ããŸã®ã§ã™ãŒã€ä»Šã‚„ã£ã¦ã‚‚ã€å¤§å·®ã¯ã‚ã‚Šã¾ã›ã‚“。今ã¾ã§ã®ä½œæ¥ã¯ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’集ã‚ã¦ãれらã—ã„曲ã«èžã“ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã“ã¨ã§ã—ãŸãŒã€ãƒŸã‚シングãŒè¡Œã†ã®ã¯ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¨ãƒˆãƒ©ãƒƒã‚¯ã‚’微調整ã—ã¦ã€æ›²ãŒã‚ˆã‚Šå„ªã‚ŒãŸã‚‚ã®ã«èžã“ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã“ã¨ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
-msgstr "エディットグループを解除ã™ã‚‹ã®ã¯ã‚ˆã„考ãˆã§ã™ã€‚ãã®ã¾ã¾ã«ã—ã¦ãŠãã¨ã€ã“ã®åˆ¶ä½œæ®µéšŽã§å¯èƒ½ãªæ©Ÿèƒ½ã‚’<emphasis>減らã™</emphasis>ã“ã¨ã«ãªã‚‹ã‹ã‚‰ã§ã™ã€‚エディットグループãŒæœ‰åŠ¹ã ã¨ã€ï¼‘ã¤ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã—ãŸå¤‰æ›´ãŒã€è‡ªå‹•çš„ã«ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã‚‚ã•ã‚Œã¦ã—ã¾ã„ã¾ã™ã€‚ç§ãŸã¡ã¯ãƒˆãƒ©ãƒƒã‚¯ã‚’独立ã«èª¿æ•´ã—ãŸã„ã®ã§ã™ã€‚両方ã®ãƒˆãƒ©ãƒƒã‚¯ã«åŒã˜èª¿æ•´ãŒå¿…è¦ãªã¨ãã«ã¯ã€ãã‚ŒãŒã‚¢ã‚¿ãƒƒãƒã•ã‚Œã¦ã„るサブマスターãƒã‚¹ã‚’使ã„ã¾ã™ã€‚"
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
+msgstr ""
+"エディットグループを解除ã™ã‚‹ã®ã¯ã‚ˆã„考ãˆã§ã™ã€‚ãã®ã¾ã¾ã«ã—ã¦ãŠãã¨ã€ã“ã®åˆ¶ä½œæ®µéšŽã§å¯èƒ½ãªæ©Ÿèƒ½ã‚’<emphasis>減らã™</emphasis>ã“ã¨ã«ãªã‚‹ã‹ã‚‰ã§ã™ã€‚エディットグループãŒæœ‰åŠ¹ã ã¨ã€ï¼‘ã¤ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã—ãŸå¤‰æ›´ãŒã€è‡ªå‹•çš„ã«ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã‚‚ã•ã‚Œã¦ã—ã¾ã„ã¾ã™ã€‚ç§ãŸã¡ã¯ãƒˆãƒ©ãƒƒã‚¯ã‚’独立ã«èª¿æ•´ã—ãŸã„ã®ã§ã™ã€‚両方ã®ãƒˆãƒ©ãƒƒã‚¯ã«åŒã˜èª¿æ•´ãŒå¿…è¦ãªã¨ãã«ã¯ã€ãã‚ŒãŒã‚¢ã‚¿ãƒƒãƒã•ã‚Œã¦ã„るサブマスターãƒã‚¹ã‚’使ã„ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr "以下ã®ã‚¹ãƒ†ãƒƒãƒ—ã¯ã€ã‚¨ãƒ‡ã‚£ãƒƒãƒˆã‚°ãƒ«ãƒ¼ãƒ—を無効ã¨ã—ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’ステレオ出力ã®ãŸã‚ã«å†æ§‹æˆã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr "トラックを独立ã—ã¦èª¿æ•´ã—ãŸã„ã®ã§ã€ã‚¨ãƒ‡ã‚£ãƒƒãƒˆã‚°ãƒ«ãƒ¼ãƒ—を一時的ã«ç„¡åŠ¹ã«ã—ãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。"
#. Tag: para
@@ -2426,42 +3835,73 @@ msgstr "セッションサイドãƒãƒ¼ã® \"Edit Groups\" タブを開ãã¾ã™
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
-msgstr "ã™ã¹ã¦ã®ã‚°ãƒ«ãƒ¼ãƒ—ã® \"Active\" ボタンã®ãƒã‚§ãƒƒã‚¯ã‚’外ã—ã¾ã™ã€‚後ã§ã‚¨ãƒ‡ã‚£ãƒƒãƒˆã‚°ãƒ«ãƒ¼ãƒ—を有効ã«ã—ãŸã„時ã¯ã€\"Active\" ボタンをãƒã‚§ãƒƒã‚¯ã™ã‚Œã°ã‚ˆã„ã§ã™ã€‚"
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
+msgstr ""
+"ã™ã¹ã¦ã®ã‚°ãƒ«ãƒ¼ãƒ—ã® \"Active\" ボタンã®ãƒã‚§ãƒƒã‚¯ã‚’外ã—ã¾ã™ã€‚後ã§ã‚¨ãƒ‡ã‚£ãƒƒãƒˆã‚°ãƒ«ãƒ¼ãƒ—を有効ã«ã—ãŸã„時ã¯ã€\"Active\" "
+"ボタンをãƒã‚§ãƒƒã‚¯ã™ã‚Œã°ã‚ˆã„ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
-msgstr "メニューã‹ã‚‰ 'Window > Show Mixer' ã‚’é¸æŠžã—ã¦ã€ãƒŸã‚サーウインドウを開ãã¾ã™ã€‚マルãƒãƒ¢ãƒ‹ã‚¿ãƒ¼æ§‹æˆã‚’ãŠæŒã¡ãªã‚‰ã€ãƒŸã‚サーウインドウをã€ãƒ¡ã‚¤ãƒ³ã®ã‚¨ãƒ‡ã‚£ã‚¿ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã¨ã¯åˆ¥ã®ãƒ¢ãƒ‹ã‚¿ãƒ¼ã«ç½®ãã¨ä¾¿åˆ©ã§ã™ã€‚マルãƒãƒ¢ãƒ‹ã‚¿ãƒ¼ã§ãªã„ã¨ãã¯ã€ãƒŸã‚サーウインドウをã€åˆ¥ã®ä»®æƒ³ãƒ‡ã‚¹ã‚¯ãƒˆãƒƒãƒ—ã«ç½®ãã¨è‰¯ã„ã§ã—ょã†ã€‚ã‚‚ã¡ã‚ã‚“ã€ã“ã‚Œã¯ã©ã¡ã‚‰ã‚‚オプショナルãªæ‰‹é †ã§ã™ã€‚"
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
+msgstr ""
+"メニューã‹ã‚‰ 'Window > Show Mixer' "
+"ã‚’é¸æŠžã—ã¦ã€ãƒŸã‚サーウインドウを開ãã¾ã™ã€‚マルãƒãƒ¢ãƒ‹ã‚¿ãƒ¼æ§‹æˆã‚’ãŠæŒã¡ãªã‚‰ã€ãƒŸã‚サーウインドウをã€ãƒ¡ã‚¤ãƒ³ã®ã‚¨ãƒ‡ã‚£ã‚¿ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã¨ã¯åˆ¥ã®ãƒ¢ãƒ‹ã‚¿ãƒ¼ã«ç½®ãã¨ä¾¿åˆ©ã§ã™ã€‚マルãƒãƒ¢ãƒ‹ã‚¿ãƒ¼ã§ãªã„ã¨ãã¯ã€ãƒŸã‚サーウインドウをã€åˆ¥ã®ä»®æƒ³ãƒ‡ã‚¹ã‚¯ãƒˆãƒƒãƒ—ã«ç½®ãã¨è‰¯ã„ã§ã—ょã†ã€‚ã‚‚ã¡ã‚ã‚“ã€ã“ã‚Œã¯ã©ã¡ã‚‰ã‚‚オプショナルãªæ‰‹é †ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
-msgstr "ãã‚Œãžã‚Œã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒŸã‚サーã®ä¸€ç•ªä¸‹ä»˜è¿‘ã€ãƒœã‚¿ãƒ³ã®ä¸Šã€ã«å°ã•ã„é»’ã„四角ãŒã‚ã‚Šã€ï¼“ã¤ã®ç°è‰²ã®ä¸‰è§’ã¨ç·‘ã®åž‚ç›´ç·šãŒã‚ã‚‹ã¯ãšã§ã™ã€‚ãã‚Œãžã‚Œã®ãƒã‚¹ã«ã¯ã“ã®å››è§’ãŒï¼’ã¤ã‚ã‚Šã¾ã™ã€‚ã“ã‚ŒãŒã€ãƒ‘ンナーを制御ã—ã¦ã€ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã§ã®ãƒˆãƒ©ãƒƒã‚¯ã®å·¦ã¨å³ã®ä½ç½®ã®èª¿æ•´ã‚’ã™ã‚‹ã‚‚ã®ã§ã™ã€‚"
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
+msgstr ""
+"ãã‚Œãžã‚Œã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒŸã‚サーã®ä¸€ç•ªä¸‹ä»˜è¿‘ã€ãƒœã‚¿ãƒ³ã®ä¸Šã€ã«å°ã•ã„é»’ã„四角ãŒã‚ã‚Šã€ï¼“ã¤ã®ç°è‰²ã®ä¸‰è§’ã¨ç·‘ã®åž‚ç›´ç·šãŒã‚ã‚‹ã¯ãšã§ã™ã€‚ãã‚Œãžã‚Œã®ãƒã‚¹ã«ã¯ã“ã®å››è§’ãŒï¼’ã¤ã‚ã‚Šã¾ã™ã€‚ã“ã‚ŒãŒã€ãƒ‘ンナーを制御ã—ã¦ã€ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã§ã®ãƒˆãƒ©ãƒƒã‚¯ã®å·¦ã¨å³ã®ä½ç½®ã®èª¿æ•´ã‚’ã™ã‚‹ã‚‚ã®ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
-msgstr "パンナーを調整ã™ã‚‹ã«ã¯ã€ãƒ‘ンナーã®è¡¨ç¤ºã‚’クリックアンドドラッグã—ã¾ã™ã€‚ç·‘ã®ç·šã‚’クリックã™ã‚‹å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“。線ã¯ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã§ã®ãƒˆãƒ©ãƒƒã‚¯ã®ã ã„ãŸã„ã®ä½ç½®ã‚’示ã—ã¾ã™ã€‚"
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
+msgstr ""
+"パンナーを調整ã™ã‚‹ã«ã¯ã€ãƒ‘ンナーã®è¡¨ç¤ºã‚’クリックアンドドラッグã—ã¾ã™ã€‚ç·‘ã®ç·šã‚’クリックã™ã‚‹å¿…è¦ã¯ã‚ã‚Šã¾ã›ã‚“。線ã¯ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã§ã®ãƒˆãƒ©ãƒƒã‚¯ã®ã ã„ãŸã„ã®ä½ç½®ã‚’示ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr "大文å—ã® \"L\" ã§çµ‚ã‚る「左ã€ãƒˆãƒ©ãƒƒã‚¯ã¯ã™ã¹ã¦ã€ç·‘ã®ç·šã‚’一番左ã«è¨å®šã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr "大文å—ã® \"R\" ã§çµ‚ã‚る「å³ã€ãƒˆãƒ©ãƒƒã‚¯ã¯ã™ã¹ã¦ã€ç·‘ã®ç·šã‚’一番å³ã«è¨å®šã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
-msgstr "ãƒã‚¹ã¯ã€æ—¢ã«æ£ã—ãè¨å®šã•ã‚Œã¦ã„ã‚‹ã¨æ€ã„ã¾ã™ã€‚ãƒã‚¹ã®ä¸Šã®ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã¯å·¦ãƒãƒ£ãƒãƒ«ã‚’示ã—ã€ç·‘ã®ç·šã¯ä¸€ç•ªå·¦ã€ä¸‹ã®ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã¯å³ãƒãƒ£ãƒãƒ«ã‚’示ã—ã€ç·‘ã®ç·šã¯ä¸€ç•ªå³ã«ã‚ã‚‹ã¯ãšã§ã™ã€‚"
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
+msgstr ""
+"ãƒã‚¹ã¯ã€æ—¢ã«æ£ã—ãè¨å®šã•ã‚Œã¦ã„ã‚‹ã¨æ€ã„ã¾ã™ã€‚ãƒã‚¹ã®ä¸Šã®ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã¯å·¦ãƒãƒ£ãƒãƒ«ã‚’示ã—ã€ç·‘ã®ç·šã¯ä¸€ç•ªå·¦ã€ä¸‹ã®ã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã¯å³ãƒãƒ£ãƒãƒ«ã‚’示ã—ã€ç·‘ã®ç·šã¯ä¸€ç•ªå³ã«ã‚ã‚‹ã¯ãšã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr "パンナーã®ä¸Šã®ãƒŸã‚サーコントãƒãƒ¼ãƒ«ã¯ã€ã€Œãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã€ã¨å‘¼ã°ã‚Œã€ãƒˆãƒ©ãƒƒã‚¯ã®ãƒ¬ãƒ™ãƒ«ã‚’変更ã—ã¾ã™ã€‚"
#. Tag: title
@@ -2471,33 +3911,63 @@ msgstr "最åˆã®ãƒ¬ãƒ™ãƒ«ã‚’è¨å®šã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
-msgstr "編集ã¨åŒæ§˜ã€ã“ã“ã§å¤§åˆ‡ãªã“ã¨ã¯ã€ãƒ¬ãƒ™ãƒ«ã‚’ã»ã¼æ£ã—ã„é ˜åŸŸã«è¨å®šã—ã¦ã€ãƒˆãƒ©ãƒƒã‚¯å…¨ä½“ã«ã‚ãŸã£ã¦ãã‚ŒãŒä½¿ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã“ã¨ã§ã™ã€‚後ã§ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã‚’使ã„始ã‚ã‚‹ã¨ã€ãƒ¬ãƒ™ãƒ«ã‚’微調整ã—ãŸã‚Šã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ä¸ã§å¤‰ãˆãŸã‚Šã§ãるよã†ã«ãªã‚Šã¾ã™ã€‚以下ã¯ã€æœ€åˆã®ãƒ¬ãƒ™ãƒ«è¨å®šã®ãŸã‚ã«ä½¿ã†ã“ã¨ã®ã§ãる１ã¤ã®æ‰‹é †ã§ã™ã€‚"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
+msgstr ""
+"編集ã¨åŒæ§˜ã€ã“ã“ã§å¤§åˆ‡ãªã“ã¨ã¯ã€ãƒ¬ãƒ™ãƒ«ã‚’ã»ã¼æ£ã—ã„é ˜åŸŸã«è¨å®šã—ã¦ã€ãƒˆãƒ©ãƒƒã‚¯å…¨ä½“ã«ã‚ãŸã£ã¦ãã‚ŒãŒä½¿ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã“ã¨ã§ã™ã€‚後ã§ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã‚’使ã„始ã‚ã‚‹ã¨ã€ãƒ¬ãƒ™ãƒ«ã‚’微調整ã—ãŸã‚Šã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ä¸ã§å¤‰ãˆãŸã‚Šã§ãるよã†ã«ãªã‚Šã¾ã™ã€‚以下ã¯ã€æœ€åˆã®ãƒ¬ãƒ™ãƒ«è¨å®šã®ãŸã‚ã«ä½¿ã†ã“ã¨ã®ã§ãる１ã¤ã®æ‰‹é †ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
-msgstr "メニューã‹ã‚‰ 'Window > Mixer' ã‚’é¸æŠžã—ã¦ã€ãƒŸã‚サーウインドウを開ãã¾ã™ã€‚以å‰ã«è¨€ã£ãŸã‚ˆã†ã«ã€ãƒŸã‚サーウインドウã¯åˆ¥ã®ãƒ¢ãƒ‹ã‚¿ãƒ¼ã‚ã‚‹ã„ã¯ä»®æƒ³ãƒ‡ã‚¹ã‚¯ãƒˆãƒƒãƒ—ã«ç½®ãã¨ä¾¿åˆ©ã§ã™ã€‚"
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
+msgstr ""
+"メニューã‹ã‚‰ 'Window > Mixer' "
+"ã‚’é¸æŠžã—ã¦ã€ãƒŸã‚サーウインドウを開ãã¾ã™ã€‚以å‰ã«è¨€ã£ãŸã‚ˆã†ã«ã€ãƒŸã‚サーウインドウã¯åˆ¥ã®ãƒ¢ãƒ‹ã‚¿ãƒ¼ã‚ã‚‹ã„ã¯ä»®æƒ³ãƒ‡ã‚¹ã‚¯ãƒˆãƒƒãƒ—ã«ç½®ãã¨ä¾¿åˆ©ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr "ã™ã¹ã¦ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’ 0 dB ã«ã—ã¾ã™ã€‚ã‚ãªãŸãŒä»¥å‰ã«å¤‰ãˆãŸã‚Šã—ã¦ã„ãªã‘ã‚Œã°ã€æ—¢ã«ãã®ãƒ¬ãƒ™ãƒ«ã«ãªã£ã¦ã„ã‚‹ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
-msgstr "一番é™ã‹ãªãƒˆãƒ©ãƒƒã‚¯ã‚’é¸ã³ã€ 0 dB ã«è¨å®šã—ã¦ã€ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒ¬ãƒ™ãƒ«ã®å¤§ãã•ã®æœ€å¤§å€¤ã¨ã—ã¦ä½¿ã„ã¾ã™ã€‚一般的ã«è¨€ã£ã¦ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªä¿¡å·ã‚’増幅ã™ã‚‹ã®ã¯é¿ã‘ã‚‹ã®ãŒå®‰å…¨ãªã®ã§ã€ä¸€ç•ªé™ã‹ãªãƒˆãƒ©ãƒƒã‚¯ã‚’「ベースラインã€ã«ä½¿ã†ã¨ã„ã†ã“ã¨ã¯ã€ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒ¬ãƒ™ãƒ«ã‚’ã€ãã‚Œã«åˆã†ã‚ˆã†ã«<emphasis>下ã’ã‚‹</emphasis>å¿…è¦ãŒã‚ã‚‹ã¨ã„ã†ã“ã¨ã§ã™ã€‚今ã®å ´åˆã€ãƒœã‚¤ã‚¹ãƒˆãƒ©ãƒƒã‚¯ãŒä¸€ç•ªé™ã‹ã§ã™ã€‚"
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
+msgstr ""
+"一番é™ã‹ãªãƒˆãƒ©ãƒƒã‚¯ã‚’é¸ã³ã€ 0 dB "
+"ã«è¨å®šã—ã¦ã€ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒ¬ãƒ™ãƒ«ã®å¤§ãã•ã®æœ€å¤§å€¤ã¨ã—ã¦ä½¿ã„ã¾ã™ã€‚一般的ã«è¨€ã£ã¦ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªä¿¡å·ã‚’増幅ã™ã‚‹ã®ã¯é¿ã‘ã‚‹ã®ãŒå®‰å…¨ãªã®ã§ã€ä¸€ç•ªé™ã‹ãªãƒˆãƒ©ãƒƒã‚¯ã‚’「ベースラインã€ã«ä½¿ã†ã¨ã„ã†ã“ã¨ã¯ã€ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒ¬ãƒ™ãƒ«ã‚’ã€ãã‚Œã«åˆã†ã‚ˆã†ã«<emphasis>下ã’ã‚‹</emphasis>å¿…è¦ãŒã‚ã‚‹ã¨ã„ã†ã“ã¨ã§ã™ã€‚今ã®å ´åˆã€ãƒœã‚¤ã‚¹ãƒˆãƒ©ãƒƒã‚¯ãŒä¸€ç•ªé™ã‹ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
-msgstr "ã“ã®æ™‚点ã§ã€ãƒã‚¹ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã ã‘を触るã®ãŒã‚ˆã„ã§ã—ょã†ã€‚トラックã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’触るã¨ã€ãƒ‘ニングãŒå¤‰ã‚ã£ã¦ã€å¾Œã§ã‚ã‹ã‚Šã«ãã„å•é¡Œã«ãªã‚‹ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
+msgstr ""
+"ã“ã®æ™‚点ã§ã€ãƒã‚¹ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã ã‘を触るã®ãŒã‚ˆã„ã§ã—ょã†ã€‚トラックã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’触るã¨ã€ãƒ‘ニングãŒå¤‰ã‚ã£ã¦ã€å¾Œã§ã‚ã‹ã‚Šã«ãã„å•é¡Œã«ãªã‚‹ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
-msgstr "セッション全体を演å¥ã—ã¦ã€ãƒã‚¹ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’調整ã—ã€ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ãŒåŒã˜ã‚ˆã†ã«è‰¯ãèžã“ãˆã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚ã“ã®æ™‚点ã§ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®<emphasis>ã»ã¨ã‚“ã©</emphasis>ã®éƒ¨åˆ†ãŒãƒãƒ©ãƒ³ã‚¹ã•ã‚Œã¦ã„ã‚‹ã“ã¨ãŒç›®çš„ã ã¨ã„ã†ã“ã¨ã«æ³¨æ„ãã ã•ã„。セッション全体ã§ãŸã １ã¤ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼è¨å®šã§ã‚ˆã„ã¨ã„ã†ã“ã¨ã¯ã¾ãšã‚ã‚Šã¾ã›ã‚“。"
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
+msgstr ""
+"セッション全体を演å¥ã—ã¦ã€ãƒã‚¹ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’調整ã—ã€ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ãŒåŒã˜ã‚ˆã†ã«è‰¯ãèžã“ãˆã‚‹ã‚ˆã†ã«ã—ã¾ã™ã€‚ã“ã®æ™‚点ã§ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®<emphasis>ã»ã¨ã‚“ã©</emphasis>ã®éƒ¨åˆ†ãŒãƒãƒ©ãƒ³ã‚¹ã•ã‚Œã¦ã„ã‚‹ã“ã¨ãŒç›®çš„ã ã¨ã„ã†ã“ã¨ã«æ³¨æ„ãã ã•ã„。セッション全体ã§ãŸã １ã¤ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼è¨å®šã§ã‚ˆã„ã¨ã„ã†ã“ã¨ã¯ã¾ãšã‚ã‚Šã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
@@ -2506,28 +3976,53 @@ msgstr "フェーダーè¨å®šã‚’変ãˆã‚‹ã«ã¯ã€ï¼’ã¤ã®æ–¹æ³•ãŒã‚ã‚Šã¾ã™
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr "レベルメーターã®å·¦ã«ã‚ã‚‹åž‚ç›´ã®ãƒ‰ãƒƒãƒˆã®ã¤ã„ãŸã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã‚¹ãƒˆãƒªãƒƒãƒ—（トラックã®æ¼”å¥ä¸ã«å…‰ã‚Šã¾ã™ã€‚）をクリックアンドドラッグã™ã‚‹ã€‚"
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
-msgstr "インジケーターボックスã®ãƒ†ã‚ストフィールドを使ã†ã€‚ボックスをクリックã—ã¦ã€ãã‚ŒãŒç¤ºã™æ•°å—を削除ã—ã€æ–°ã—ã„æ•°å—を入れã€ã‚ーボードã§ã€Œã‚¨ãƒ³ã‚¿ãƒ¼ã€ã‚’押ã™ã€‚"
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
+msgstr ""
+"インジケーターボックスã®ãƒ†ã‚ストフィールドを使ã†ã€‚ボックスをクリックã—ã¦ã€ãã‚ŒãŒç¤ºã™æ•°å—を削除ã—ã€æ–°ã—ã„æ•°å—を入れã€ã‚ーボードã§ã€Œã‚¨ãƒ³ã‚¿ãƒ¼ã€ã‚’押ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
-msgstr "ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã§ã€ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã®è¡¨ç¤ºã®é †åºã‚’変ãˆã‚‹ã¨ã€ãƒŸã‚サーウインドウã®è¡¨ç¤ºã‚‚変ã‚ã‚Šã¾ã™ã€‚ãƒã‚¹ã‚’全部一緒ã«ã™ã‚‹ã¨ã€è¦‹ã‚„ã™ã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。"
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
+msgstr ""
+"ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã§ã€ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã®è¡¨ç¤ºã®é †åºã‚’変ãˆã‚‹ã¨ã€ãƒŸã‚サーウインドウã®è¡¨ç¤ºã‚‚変ã‚ã‚Šã¾ã™ã€‚ãƒã‚¹ã‚’全部一緒ã«ã™ã‚‹ã¨ã€è¦‹ã‚„ã™ã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。"
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
-msgstr "ã‚ã‚‹ã„ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã‚’表示ã—ãªã„よã†ã«ã—ã¦ã€å¤‰æ›´ã™ã‚‹ãƒã‚¹ã ã‘ã«é›†ä¸ã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚一時的ã«ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã‚’ミã‚サーウインドウã§éš ã™ã«ã¯ã€ãƒŸã‚サーウインドウã®å·¦å´ã®ãƒ„ールボックスを使ã„ã¾ã™ã€‚éš ã—ãŸã„トラックã‚ã‚‹ã„ã¯ãƒã‚¹ã® \"Show\" ボックスã®ãƒã‚§ãƒƒã‚¯ã‚’外ã—ã¾ã™ã€‚"
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
+msgstr ""
+"ã‚ã‚‹ã„ã¯ã€ãƒˆãƒ©ãƒƒã‚¯ã‚’表示ã—ãªã„よã†ã«ã—ã¦ã€å¤‰æ›´ã™ã‚‹ãƒã‚¹ã ã‘ã«é›†ä¸ã™ã‚‹ã“ã¨ã‚‚ã§ãã¾ã™ã€‚一時的ã«ãƒˆãƒ©ãƒƒã‚¯ã‚ã‚‹ã„ã¯ãƒã‚¹ã‚’ミã‚サーウインドウã§éš ã™ã«ã¯ã€ãƒŸã‚サーウインドウã®å·¦å´ã®ãƒ„ールボックスを使ã„ã¾ã™ã€‚éš ã—ãŸã„トラックã‚ã‚‹ã„ã¯ãƒã‚¹ã®"
+" \"Show\" ボックスã®ãƒã‚§ãƒƒã‚¯ã‚’外ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
-msgstr "フェーダーツール㮠\"maximum level\" インジケータãŒã€ãã‚Œãžã‚Œã®ãƒˆãƒ©ãƒƒã‚¯ãŒã©ã®ç¨‹åº¦å¤§ããªéŸ³ã‹ã‚’判æ–ã™ã‚‹åŠ©ã‘ã¨ãªã‚‹ã§ã—ょã†ã€‚ã“ã®ã‚¤ãƒ³ã‚¸ã‚±ãƒ¼ã‚¿ã¯ã€ãƒ¡ãƒ¼ã‚¿ãƒ¼ã®ä¸Šã€ \"Solo\" ボタンã®ä¸‹ã«ã‚ã‚Šã¾ã™ã€‚インジケータã¯ã€ã‚¤ãƒ³ã‚¸ã‚±ãƒ¼ã‚¿ãŒæœ€å¾Œã«ãƒªã‚»ãƒƒãƒˆã•ã‚Œã¦ä»¥æ¥ã€ãƒˆãƒ©ãƒƒã‚¯ãŒç”Ÿæˆã—ãŸæœ€å¤§ãƒ¬ãƒ™ãƒ«ã‚’表示ã—ã¾ã™ã€‚インジケータをリセットã™ã‚‹ã«ã¯ã€ãれをクリックã—ã¾ã™ã€‚"
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
+msgstr ""
+"フェーダーツール㮠\"maximum level\" "
+"インジケータãŒã€ãã‚Œãžã‚Œã®ãƒˆãƒ©ãƒƒã‚¯ãŒã©ã®ç¨‹åº¦å¤§ããªéŸ³ã‹ã‚’判æ–ã™ã‚‹åŠ©ã‘ã¨ãªã‚‹ã§ã—ょã†ã€‚ã“ã®ã‚¤ãƒ³ã‚¸ã‚±ãƒ¼ã‚¿ã¯ã€ãƒ¡ãƒ¼ã‚¿ãƒ¼ã®ä¸Šã€ \"Solo\" "
+"ボタンã®ä¸‹ã«ã‚ã‚Šã¾ã™ã€‚インジケータã¯ã€ã‚¤ãƒ³ã‚¸ã‚±ãƒ¼ã‚¿ãŒæœ€å¾Œã«ãƒªã‚»ãƒƒãƒˆã•ã‚Œã¦ä»¥æ¥ã€ãƒˆãƒ©ãƒƒã‚¯ãŒç”Ÿæˆã—ãŸæœ€å¤§ãƒ¬ãƒ™ãƒ«ã‚’表示ã—ã¾ã™ã€‚インジケータをリセットã™ã‚‹ã«ã¯ã€ãれをクリックã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -2536,18 +4031,59 @@ msgstr "最åˆã®ãƒ‘ニングをè¨å®šã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
-msgstr "最åˆã®ãƒ‘ニングをè¨å®šã™ã‚‹ã®ã¯ã€æœ€åˆã®ãƒ¬ãƒ™ãƒ«ã‚’è¨å®šã™ã‚‹ã‚ˆã‚Šã‚‚ã€ã‹ãªã‚Šå¤šãã®è€ƒå¯ŸãŒå¿…è¦ã§ã™ã€‚ç•°ãªã‚‹éŸ³æ¥½ã«ã¯ç•°ãªã‚‹è¦æ±‚ãŒã‚ã‚‹ã§ã—ょã†ãŒã€ã“ã®ç¨®é¡žã®éŒ²éŸ³ã•ã‚ŒãŸã‚¢ã‚³ãƒ¼ã‚¹ãƒ†ã‚£ãƒƒã‚¯éŸ³æ¥½ã®ãƒ‘ニングをè¨å®šã™ã‚‹ã¨ãã®ä¸»ãªç›®çš„ã¯ã€ãã‚Œãžã‚Œã®æ¼”å¥è€…ãŒã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã®ä¸Šã§ã€ãƒ¦ãƒ‹ãƒ¼ã‚¯ã§ä¸å¤‰ã®ä½ç½®ã‚’å ã‚ã‚‹ã“ã¨ã‚’ä¿è¨¼ã™ã‚‹ã“ã¨ã§ã™ã€‚人ãŒéŸ³æ¥½ã‚’èžãã¨ãã€æš—黙的ã«ã€è„³ãŒéŸ³ãŒãã“ã‹ã‚‰ã‚„ã£ã¦ãã‚‹ã¹ãã¨æ€ã†ã¨ã“ã‚ã€ã€Œä½ç½®ã€ã‚’サウンドã«æœŸå¾…ã—ã¾ã™ã€‚録音ã•ã‚ŒãŸéŸ³æ¥½ã‚’èžãã¨ãç§ãŸã¡ã¯ã‚µã‚¦ãƒ³ãƒ‰ã¯å®Ÿéš›ã«ã¯ã‚¹ãƒ”ーカーもã—ãã¯ãƒ˜ãƒƒãƒ‰ãƒ›ãƒ³ã‹ã‚‰æ¥ã‚‹ã®ã§ã‚ã£ã¦ã€æ¼”å¥è€…ã¯ãã“ã«ã„ãªã„ã“ã¨ã‚’ç†è§£ã—ã¦ã„ã¾ã™ã€‚ãã†ã§ã‚ã£ã¦ã‚‚ã€æ¼”å¥è€…ã‚‚ã—ãã¯ã‚µã‚¦ãƒ³ãƒ‰ã®ç©ºæƒ³ä¸Šã®å ´æ‰€ãŒçµ¶ãˆãšå¤‰åŒ–ã™ã‚‹ã‚ˆã†ãªéŸ³æ¥½ã‚’èžãã®ã¯é›£ã—ã„ã€ç–²ã‚Œã‚‹ã€ã‚
ã‚‹ã„ã¯ä¸æ„‰å¿«ãªã“ã¨ã§ã™ã€‚åŒã˜ã‚ˆã†ã«ã€ãƒ¬ãƒ™ãƒ«ã®ãƒãƒ©ãƒ³ã‚¹ãŒæ‚ªã„音楽をèžãã®ã¯ã€é›£ã—ãã¦ç–²ã‚Œã‚‹ã“ã¨ã§ã™ã€‚"
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
+msgstr ""
+"最åˆã®ãƒ‘ニングをè¨å®šã™ã‚‹ã®ã¯ã€æœ€åˆã®ãƒ¬ãƒ™ãƒ«ã‚’è¨å®šã™ã‚‹ã‚ˆã‚Šã‚‚ã€ã‹ãªã‚Šå¤šãã®è€ƒå¯ŸãŒå¿…è¦ã§ã™ã€‚ç•°ãªã‚‹éŸ³æ¥½ã«ã¯ç•°ãªã‚‹è¦æ±‚ãŒã‚ã‚‹ã§ã—ょã†ãŒã€ã“ã®ç¨®é¡žã®éŒ²éŸ³ã•ã‚ŒãŸã‚¢ã‚³ãƒ¼ã‚¹ãƒ†ã‚£ãƒƒã‚¯éŸ³æ¥½ã®ãƒ‘ニングをè¨å®šã™ã‚‹ã¨ãã®ä¸»ãªç›®çš„ã¯ã€ãã‚Œãžã‚Œã®æ¼”å¥è€…ãŒã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã®ä¸Šã§ã€ãƒ¦ãƒ‹ãƒ¼ã‚¯ã§ä¸å¤‰ã®ä½ç½®ã‚’å ã‚ã‚‹ã“ã¨ã‚’ä¿è¨¼ã™ã‚‹ã“ã¨ã§ã™ã€‚人ãŒéŸ³æ¥½ã‚’èžãã¨ãã€æš—黙的ã«ã€è„³ãŒéŸ³ãŒãã“ã‹ã‚‰ã‚„ã£ã¦ãã‚‹ã¹ãã¨æ€ã†ã¨ã“ã‚ã€ã€Œä½ç½®ã€ã‚’サウンドã«æœŸå¾…ã—ã¾ã™ã€‚録音ã•ã‚ŒãŸéŸ³æ¥½ã‚’èžãã¨ãç§ãŸã¡ã¯ã‚µã‚¦ãƒ³ãƒ‰ã¯å®Ÿéš›ã«ã¯ã‚¹ãƒ”ーカーもã—ãã¯ãƒ˜ãƒƒãƒ‰ãƒ›ãƒ³ã‹ã‚‰æ¥ã‚‹ã®ã§ã‚ã£ã¦ã€æ¼”å¥è€…ã¯ãã“ã«ã„ãªã„ã“ã¨ã‚’ç†è§£ã—ã¦ã„ã¾ã™ã€‚ãã†ã§ã‚ã£ã¦ã‚‚ã€æ¼”å¥è€…ã‚‚ã—ãã¯ã‚µã‚¦ãƒ³ãƒ‰ã®ç©ºæƒ³ä¸Šã®å ´æ‰€ãŒçµ¶ãˆãšå¤‰åŒ–ã™ã‚‹ã‚ˆã†ãªéŸ³æ¥½ã‚’èžãã®ã¯é›£ã—ã„ã€ç–²ã‚Œã‚‹ã€ã‚ã‚‹ã„ã
¯ä¸æ„‰å¿«ãªã“ã¨ã§ã™ã€‚åŒã˜ã‚ˆã†ã«ã€ãƒ¬ãƒ™ãƒ«ã®ãƒãƒ©ãƒ³ã‚¹ãŒæ‚ªã„音楽をèžãã®ã¯ã€é›£ã—ãã¦ç–²ã‚Œã‚‹ã“ã¨ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
-msgstr "困難ã•ã«è¼ªã‚’ã‹ã‘るよã†ã«ã€ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã¯ç§ãŸã¡ã®å¿ƒã®ä¸ã§å¤šãã®è¦ç´ ã®è¤‡é›‘ãªçµ„ã¿åˆã‚ã›ã¨ã—ã¦ä½œã‚‰ã‚Œã¾ã™ã€‚é™ã‹ãªã‚µã‚¦ãƒ³ãƒ‰ã¨å¾Œã‹ã‚‰èµ·ãるサウンドã¯ã€å¤§ããªã‚µã‚¦ãƒ³ãƒ‰ã¨æœ€åˆã‹ã‚‰ã‚るサウンドã¨æ¯”ã¹ã‚‹ã¨ã€é ãã«ã‚るよã†ã«æ„Ÿã˜ã‚‰ã‚Œã¾ã™ã€‚DAW ã®ãƒ‘ンナーã¯ã€ä¿¡å·ã‚’「全部左ã€ã¨ã€ã€Œå…¨éƒ¨å³ã€ã®ç›´ç·šä¸Šã®ã©ã“ã‹ã«ç½®ãã“ã¨ã—ã‹ã§ããªã„ã«ã‚‚ã‹ã‹ã‚らãšã€ç§ãŸã¡ã®è„³ã¯ï¼“次元世界ã«ã‚µã‚¦ãƒ³ãƒ‰ãŒã‚るよã†ã«å‡¦ç†ã—ã¾ã™ã€‚優れãŸã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæŠ€è¡“者ã¯ã“れらã®è¦ç´ を比較的簡å˜ã«åˆ¶å¾¡ã§ãã‚‹ã“ã¨ã§ã—ょã†ãŒã€ç§ãŸã¡ã«ã¨ã£ã¦ã¯ãŸãã•ã‚“ã®è©¦è¡ŒéŒ¯èª¤ãŒå¿…è¦ã¨ãªã‚‹ã§ã—ょã†ã€‚"
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
+msgstr ""
+"困難ã•ã«è¼ªã‚’ã‹ã‘るよã†ã«ã€ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã¯ç§ãŸã¡ã®å¿ƒã®ä¸ã§å¤šãã®è¦ç´ ã®è¤‡é›‘ãªçµ„ã¿åˆã‚ã›ã¨ã—ã¦ä½œã‚‰ã‚Œã¾ã™ã€‚é™ã‹ãªã‚µã‚¦ãƒ³ãƒ‰ã¨å¾Œã‹ã‚‰èµ·ãるサウンドã¯ã€å¤§ããªã‚µã‚¦ãƒ³ãƒ‰ã¨æœ€åˆã‹ã‚‰ã‚るサウンドã¨æ¯”ã¹ã‚‹ã¨ã€é ãã«ã‚るよã†ã«æ„Ÿã˜ã‚‰ã‚Œã¾ã™ã€‚DAW"
+" "
+"ã®ãƒ‘ンナーã¯ã€ä¿¡å·ã‚’「全部左ã€ã¨ã€ã€Œå…¨éƒ¨å³ã€ã®ç›´ç·šä¸Šã®ã©ã“ã‹ã«ç½®ãã“ã¨ã—ã‹ã§ããªã„ã«ã‚‚ã‹ã‹ã‚らãšã€ç§ãŸã¡ã®è„³ã¯ï¼“次元世界ã«ã‚µã‚¦ãƒ³ãƒ‰ãŒã‚るよã†ã«å‡¦ç†ã—ã¾ã™ã€‚優れãŸã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæŠ€è¡“者ã¯ã“れらã®è¦ç´ を比較的簡å˜ã«åˆ¶å¾¡ã§ãã‚‹ã“ã¨ã§ã—ょã†ãŒã€ç§ãŸã¡ã«ã¨ã£ã¦ã¯ãŸãã•ã‚“ã®è©¦è¡ŒéŒ¯èª¤ãŒå¿…è¦ã¨ãªã‚‹ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
-msgstr "ã“ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®å›ºæœ‰ã®å•é¡Œã¯ã€ã‚½ãƒªã‚¹ãƒˆã‚’å«ã‚€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒã€ã‚½ãƒªã‚¹ãƒˆãŒä»–ã®æŒæ‰‹ã¨ä¸€ç·’ã«æŒã£ã¦ã„るリージョンã¨æ¯”較ã—ã¦ã€å½¼å¥³ã‚’ç•°ãªã‚‹ç©ºæƒ³ä¸Šã®å ´æ‰€ã«ç½®ãã¨ã„ã†ã“ã¨ã§ã™ã€‚ã“ã‚Œã¯åŒã˜ãƒˆãƒ©ãƒƒã‚¯ã§èµ·ãã‚‹ã®ã§ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã®ãƒ‘ンナーã¨ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’トラックã«ä½¿ã£ã¦ã“ã®å•é¡Œã‚’解決ã—ã¾ã—ょã†ã€‚ã”自分ã§èžã„ã¦ã¿ã¦ãã ã•ã„：00:02:40.000 ã‚ãŸã‚Šã‹ã‚‰å§‹ã‚ã¦ã€\"Voice_4\" リージョン㨠\"ens-Create_the_Inconceivable\" リージョンã§ã€ã‚½ãƒªã‚¹ãƒˆãŒã©ã“ã«ç«‹ã£ã¦ã„るよã†ã«èžã“ãˆã‚‹ã‹ã€æ³¨æ„ã—ã¦ãã ã•ã„。ç§ã«ã¯ã€å½¼å¥³ãŒå³ã®è¿‘ã„ã¨ã“ã‚ã‹ã‚‰ã€å·¦ã®é ã„ã¨ã“ã‚ã«ã€ãƒœãƒ¼ã‚«ãƒ«ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã®äººãŸã¡ã‚„ã€é€šã‚Šé“ã«ã„ã‚‹ã¯ãšã®å¼¦æ¥½å™¨ã«ã¶ã¤ã‹ã‚‹ã“ã¨ãªã通り抜ã‘ã¦ã„ã£ãŸã‚ˆã†ã«èžã“ãˆã¾ã™ï¼ã»ã¨ã‚“ã©ã®ãƒªã‚¹ãƒŠãƒ¼ã¯ãã‚“ãªã“ã¨æ°—ã«ã—ãªã„ã ã‚ã
†ã¨ã‚ãªãŸã¯è¨€ã†ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ãã†ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ãã†ã§ã‚ã£ã¦ã‚‚ã€ãƒ¬ãƒ™ãƒ«ã¨ãƒ‘ニングã®å¤§å¹…ãªå¤‰åŒ–ã¯ã€ãれらåŒã˜äººãŸã¡ã«ã‚ˆã£ã¦ã€å—å‹•çš„ã«ç™ºè¦‹ã•ã‚Œã‚‹ã ã‚ã†ã¨ã€ç§ã¯åè«–ã—ã¾ã™ã€‚彼らãŒã€æ„è˜ã®ä¸Šã§ã¯ã€ã€Œãªã‚“ã‹ã€å¤‰ã ã€ã¨æ€ã†ã ã‘ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“ãŒã€‚"
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
+msgstr ""
+"ã“ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®å›ºæœ‰ã®å•é¡Œã¯ã€ã‚½ãƒªã‚¹ãƒˆã‚’å«ã‚€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ãŒã€ã‚½ãƒªã‚¹ãƒˆãŒä»–ã®æŒæ‰‹ã¨ä¸€ç·’ã«æŒã£ã¦ã„るリージョンã¨æ¯”較ã—ã¦ã€å½¼å¥³ã‚’ç•°ãªã‚‹ç©ºæƒ³ä¸Šã®å ´æ‰€ã«ç½®ãã¨ã„ã†ã“ã¨ã§ã™ã€‚ã“ã‚Œã¯åŒã˜ãƒˆãƒ©ãƒƒã‚¯ã§èµ·ãã‚‹ã®ã§ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã®ãƒ‘ンナーã¨ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’トラックã«ä½¿ã£ã¦ã“ã®å•é¡Œã‚’解決ã—ã¾ã—ょã†ã€‚ã”自分ã§èžã„ã¦ã¿ã¦ãã ã•ã„：00:02:40.000"
+" ã‚ãŸã‚Šã‹ã‚‰å§‹ã‚ã¦ã€\"Voice_4\" リージョン㨠\"ens-Create_the_Inconceivable\" "
+"リージョンã§ã€ã‚½ãƒªã‚¹ãƒˆãŒã©ã“ã«ç«‹ã£ã¦ã„るよã†ã«èžã“ãˆã‚‹ã‹ã€æ³¨æ„ã—ã¦ãã ã•ã„。ç§ã«ã¯ã€å½¼å¥³ãŒå³ã®è¿‘ã„ã¨ã“ã‚ã‹ã‚‰ã€å·¦ã®é ã„ã¨ã“ã‚ã«ã€ãƒœãƒ¼ã‚«ãƒ«ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã®äººãŸã¡ã‚„ã€é€šã‚Šé“ã«ã„ã‚‹ã¯ãšã®å¼¦æ¥½å™¨ã«ã¶ã¤ã‹ã‚‹ã“ã¨ãªã通り抜ã‘ã¦ã„ã£ãŸã‚ˆã†ã«èžã“ãˆã¾ã™ï¼ã»ã¨ã‚“ã©ã®ãƒªã‚¹ãƒŠãƒ¼ã¯ãã‚“ãªã“ã¨æ°—ã«ã—ãªã„ã ã‚ã†ã¨ã‚ãªãŸã¯è¨€ã†ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ãã†ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。ãã†ã§ã‚ã£ã¦ã‚‚ã€ãƒ¬ãƒ™ãƒ«ã¨ãƒ‘ニングã®å¤§å¹…ãªå¤‰åŒ–ã¯ã€ãれらåŒã˜äººãŸã¡ã«ã‚ˆã£ã¦ã€å—å‹•çš„ã«ç™ºè¦‹ã•ã‚Œã‚‹ã ã‚ã†ã¨ã€ç§ã¯åè«–ã—ã¾ã™ã€‚彼らãŒã€æ„è˜ã®ä¸Šã§ã¯ã€ã€Œãªã‚“ã‹ã€å¤‰ã ã€ã¨æ€ã†ã ã‘ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“ãŒã€‚"
#. Tag: para
#, no-c-format
@@ -2556,93 +4092,168 @@ msgstr "ã“ã‚“ãªãµã†ã«å§‹ã‚ã¦ã¿ã¾ã—ょã†ï¼š"
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
-msgstr "å¿…è¦ãªã‚‰ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’èžã„ã¦ã€ã»ã¨ã‚“ã©ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®é–“ã€æ¥½å™¨ã¨æŒæ‰‹ã®ä½ç½®ã‚’決ã‚られるã‹ã€è€ƒãˆã¾ã™ã€‚ã“れを覚ãˆã¦ãŠãå¿…è¦ãŒã‚ã‚‹ã®ã§ã€æ›¸ãç•™ã‚ã‚‹ã‹ã€åœ°å›³ã‚’書ãã®ãŒã‚ˆã„ã§ã—ょã†ã€‚"
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
+msgstr ""
+"å¿…è¦ãªã‚‰ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‚’èžã„ã¦ã€ã»ã¨ã‚“ã©ã®ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®é–“ã€æ¥½å™¨ã¨æŒæ‰‹ã®ä½ç½®ã‚’決ã‚られるã‹ã€è€ƒãˆã¾ã™ã€‚ã“れを覚ãˆã¦ãŠãå¿…è¦ãŒã‚ã‚‹ã®ã§ã€æ›¸ãç•™ã‚ã‚‹ã‹ã€åœ°å›³ã‚’書ãã®ãŒã‚ˆã„ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
-msgstr "ã•ã¦ã€ã™ã¹ã¦ã®ã‚‚ã®ãŒã‚ã‚‹ã¯ãšã®å ´æ‰€ã®åœ°å›³ã‚’書ãã¾ã—ょã†ã€‚ã“ã®ã‚ˆã†ãªæ™®é€šã§ãªã„アンサンブルã®æ™‚ã«ã¯ã€ç‰¹ã«ã€ã‚らã‹ã˜ã‚決ã‚られãŸåº§å¸ã‚„ç«‹ã¡ä½ç½®ã®æ±ºã¾ã‚Šã¯ã‚ã‚Šã¾ã›ã‚“。トラックã«ã‚ˆã£ã¦ã¯ã»ã¨ã‚“ã©èª¿æ•´ãŒä¸è¦ã®ã‚‚ã®ã‚‚ã‚ã‚‹ã§ã—ょã†ã—ã€å¤§å¹…ãªèª¿æ•´ãŒå¿…è¦ãªã‚‚ã®ã‚‚ã‚ã‚‹ã§ã—ょã†ã€‚一般的ã«è¨€ã£ã¦ã€ã„ã˜ã‚Šã¾ã‚ã™ã®ãŒå°‘ãªã„ã»ã©ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã¯ã‚ˆãèžã“ãˆã‚‹ã®ã§ã€ã‚るトラックãŒæ—¢ã«ä¸€è²«ã—ãŸå ´æ‰€ã‚’æŒã¡ã€ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã¨çŸ›ç›¾ã—ãªã„ãªã‚‰ã°ã€ãã®ã¾ã¾ã«ã™ã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚"
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
+msgstr ""
+"ã•ã¦ã€ã™ã¹ã¦ã®ã‚‚ã®ãŒã‚ã‚‹ã¯ãšã®å ´æ‰€ã®åœ°å›³ã‚’書ãã¾ã—ょã†ã€‚ã“ã®ã‚ˆã†ãªæ™®é€šã§ãªã„アンサンブルã®æ™‚ã«ã¯ã€ç‰¹ã«ã€ã‚らã‹ã˜ã‚決ã‚られãŸåº§å¸ã‚„ç«‹ã¡ä½ç½®ã®æ±ºã¾ã‚Šã¯ã‚ã‚Šã¾ã›ã‚“。トラックã«ã‚ˆã£ã¦ã¯ã»ã¨ã‚“ã©èª¿æ•´ãŒä¸è¦ã®ã‚‚ã®ã‚‚ã‚ã‚‹ã§ã—ょã†ã—ã€å¤§å¹…ãªèª¿æ•´ãŒå¿…è¦ãªã‚‚ã®ã‚‚ã‚ã‚‹ã§ã—ょã†ã€‚一般的ã«è¨€ã£ã¦ã€ã„ã˜ã‚Šã¾ã‚ã™ã®ãŒå°‘ãªã„ã»ã©ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã¯ã‚ˆãèžã“ãˆã‚‹ã®ã§ã€ã‚るトラックãŒæ—¢ã«ä¸€è²«ã—ãŸå ´æ‰€ã‚’æŒã¡ã€ä»–ã®ãƒˆãƒ©ãƒƒã‚¯ã¨çŸ›ç›¾ã—ãªã„ãªã‚‰ã°ã€ãã®ã¾ã¾ã«ã™ã‚‹ã®ãŒã‚ˆã„ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr "以下ãŒã€ç§ã®æ„見ã§ã™ã€‚ã‚ãªãŸãŒèžã„ãŸã‚‚ã®ã¨ã¯é•ã†ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。特ã«ã€æœ€åˆã®ãƒ¬ãƒ™ãƒ«è¨å®šã‚’ã‚ãªãŸãŒç‹¬è‡ªã«ã•ã‚ŒãŸãªã‚‰ã°ã€é•ã£ã¦ãã‚‹ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
-msgstr "マリンãƒãƒˆãƒ©ãƒƒã‚¯ã¯ã©ã¡ã‚‰ã‚‚ã€ãšã£ã¨ä¸€å®šã§ã™ã€‚\"marimba1\" トラックã¯ç§ã®å‰ã€ï¼•ãƒ¡ãƒ¼ãƒˆãƒ«ã€å°‘ã—å·¦ã«ã‚ã‚Šã¾ã™ã€‚\"marimba2\" トラックã¯åŒã˜è·é›¢ã§ã€å³ã«ã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
+msgstr ""
+"マリンãƒãƒˆãƒ©ãƒƒã‚¯ã¯ã©ã¡ã‚‰ã‚‚ã€ãšã£ã¨ä¸€å®šã§ã™ã€‚\"marimba1\" トラックã¯ç§ã®å‰ã€ï¼•ãƒ¡ãƒ¼ãƒˆãƒ«ã€å°‘ã—å·¦ã«ã‚ã‚Šã¾ã™ã€‚\"marimba2\" "
+"トラックã¯åŒã˜è·é›¢ã§ã€å³ã«ã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr "弦楽器リージョンã¯ã™ã¹ã¦ä¸€å®šã§ã™ã€‚ãƒã‚¤ã‚ªãƒªãƒ³ãŒä¸å¿ƒã®ã™ãå·¦ã«ã€ãƒã‚§ãƒãŒã™ãå³ã«ã€‚マリンãƒã‚ˆã‚Šã€å°‘ã—è¿‘ãã«ã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr "クラリãƒãƒƒãƒˆã¯ã€é«˜éŸ³ãƒžãƒªãƒ³ãƒã®å対å´ã€ï¼•ãƒ¡ãƒ¼ãƒˆãƒ«ã®è·é›¢ã€ä¸å¿ƒã¨å·¦ã®ä¸é–“ã«ã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr "ボーカルアンサンブルã¯å¼¦æ¥½å™¨ã¨åŒã˜æ‰€ã«ã‚ã‚Šã¾ã™ã€‚å³ã«å°‘ã—ã€åºƒãŒã£ã¦ã„ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr "ソãƒãƒœãƒ¼ã‚«ãƒªã‚¹ãƒˆã¯ãƒœãƒ¼ã‚«ãƒ«ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã®ç”·æ€§æŒæ‰‹ã¨åŒã˜æ‰€ã«ç«‹ã£ã¦ã„ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr "ã“ã‚ŒãŒã€ç§ã®ä¿®æ£ãƒ—ランã§ã™ã€‚リスナーãŒåŒ—ã‚’å‘ã„ã¦ã„ã‚‹ã¨ã—ã¦æ–¹å‘を書ãã¾ã—ãŸã€‚"
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr "リスナーをåŠå††å½¢ã«å›²ã‚€ã€ï¼’ã¤ã®æ¼”å¥è€…ã®åˆ—を確立ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr "弦楽器ã¯è¿‘ã„æ–¹ã®åˆ—ã®åŒ—西ã«ç½®ãã¾ã™ã€‚å·¦ã«å°‘ã—å‹•ã‹ã™å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
-msgstr "ボーカルソリストã¯ã€è¿‘ã„æ–¹ã®åˆ—ã®åŒ—ã‹ã‚‰å°‘ã—ã ã‘æ±ï¼ˆã¾ã‚“ãªã‹ï¼‰ã«ç½®ãã¾ã™ã€‚彼女を<emphasis>å°‘ã—ã ã‘</emphasis>å·¦ã«å‹•ã‹ã™å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
+msgstr ""
+"ボーカルソリストã¯ã€è¿‘ã„æ–¹ã®åˆ—ã®åŒ—ã‹ã‚‰å°‘ã—ã ã‘æ±ï¼ˆã¾ã‚“ãªã‹ï¼‰ã«ç½®ãã¾ã™ã€‚彼女を<emphasis>å°‘ã—ã ã‘</emphasis>å·¦ã«å‹•ã‹ã™å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
-msgstr "ボーカルアンサンブルã¯ã€è¿‘ã„æ–¹ã®åˆ—ã®åŒ—ã‹ã‚‰åŒ—西ã«åºƒãŒã£ã¦ç½®ãã¾ã™ã€‚ソリストã¯ã€åŒã˜å ´æ‰€ã«ã„ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚アンサンブルを近ãèžã“ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã«ã¯ã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼è¨å®šãŒå¿…è¦ã§ã—ょã†ã€‚"
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
+msgstr ""
+"ボーカルアンサンブルã¯ã€è¿‘ã„æ–¹ã®åˆ—ã®åŒ—ã‹ã‚‰åŒ—西ã«åºƒãŒã£ã¦ç½®ãã¾ã™ã€‚ソリストã¯ã€åŒã˜å ´æ‰€ã«ã„ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚アンサンブルを近ãèžã“ãˆã‚‹ã‚ˆã†ã«ã™ã‚‹ã«ã¯ã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼è¨å®šãŒå¿…è¦ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr "低音マリンãƒã¯ã€å¤–å´ã®åˆ—ã®åŒ—西ã«ç½®ãã¾ã™ã€‚ã“ã‚Œã¯èª¿æ•´ãŒä¸è¦ã§ã—ょã†ã€‚ã‚ã‚‹ã„ã¯å°‘ã—å·¦ã«ç§»å‹•ã€‚"
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr "高音マリンãƒã¯ã€å¤–å´ã®åˆ—ã®åŒ—æ±ã«ç½®ãã¾ã™ã€‚å°‘ã—å·¦ã«ç§»å‹•ãŒå¿…è¦ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr "クラリãƒãƒƒãƒˆã¯å¤–å´ã®åˆ—ã®åŒ—。大ããå³ã«å‹•ã‹ã™å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
-msgstr "ã“ã®ã‚ˆã†ãªãƒ¬ã‚¤ã‚¢ã‚¦ãƒˆã‚’é¸ã‚“ã ã®ã¯ã€ãã‚ŒãŒæ¯”較的ã€å°ã•ãªèª¿æ•´ã§æ¸ˆã‚€ã“ã¨ã¨ã€ä¼çµ±çš„ãªå™¨æ¥½ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã®åº§å¸ãƒ‘ターンã‹ã‚‰è¦‹ã¦ã€é“ç†ã«ã‹ãªã£ãŸã‚‚ã®ã ã‹ã‚‰ã§ã™ã€‚ã¾ãŸã€ã“ã®æ›²ã§ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãŒæ¼”å¥ã™ã‚‹éŸ³ã¯ã€é ã„ã¨ã“ã‚ã§é³´ã£ã¦ã„るよã†ã«èžã“ãˆã‚‹ã®ãŒé©å½“ã¨æ€ã‚ã‚Œã€ãƒ‘ッセージã¯å分ãªæƒ…æ„Ÿã‚’ã‚‚ã£ã¦æ¼”å¥ã•ã‚Œã¦ã„ã‚‹ã®ã§ã€ãã†ã„ã†åŠ¹æžœã‚’å¾—ã‚‹ã®ã¯å‰²ã¨ç°¡å˜ã ã¨æ€ãˆã¾ã—ãŸã€‚最もé‡è¦ãªè€ƒæ…®ç‚¹ã¯ã€ãƒœãƒ¼ã‚«ãƒ«ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã¨ãã®ä¸ã®ã‚½ãƒãƒœãƒ¼ã‚«ãƒªã‚¹ãƒˆã®é…ç½®ã§ã—ãŸã€‚ソãƒãƒœãƒ¼ã‚«ãƒªã‚¹ãƒˆã¯ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã§æœ€ã‚‚高ã„パート（ソプラノ）をæŒã£ã¦ã„ã¾ã™ãŒã€ã‚¹ãƒ†ãƒ¬ã‚ªéŒ²éŸ³ã§ã¯ã€å½¼å¥³ã¯ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã®æœ€ã‚‚å·¦ã«ã„るよã†ã«ã¯èžã“ãˆã¾ã›ã‚“。（ç§ã¯ãƒ¬ã‚³ãƒ¼ãƒ‡ã‚£ãƒ³ã‚°ã®é–“ã€ãã“ã«ã„ãŸã®ã§ã€ãã†ã§ãªã„ã“ã¨ãŒã‚ã‹ã‚‹ã®ã§ã™ã€‚）ã“ã‚Œã¯ã‚ˆã‚Š
難ã—ã„ã“ã¨ã«ãªã‚Šã¾ã™ã€‚ボイストラック全体ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãƒ‘ンナーã®è¨å®šã¯ã€ \"ens-Create_the_Inconceivable\" リージョンã«ãŠã„ã¦ã€ï¼’番目ã«é«˜éŸ³ã®æŒæ‰‹ï¼ˆã‚¢ãƒ«ãƒˆï¼‰ãŒã€ã‚½ãƒªã‚¹ãƒˆã§ã‚る最高音ã®æŒæ‰‹ã®ã™ã後ã«æŒã†ã€ãã®çž¬é–“を基準ã¨ã—ãªã‘ã‚Œã°ã„ã‘ãªã„ã¨ã„ã†ã“ã¨ã§ã™ã€‚"
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
+msgstr ""
+"ã“ã®ã‚ˆã†ãªãƒ¬ã‚¤ã‚¢ã‚¦ãƒˆã‚’é¸ã‚“ã ã®ã¯ã€ãã‚ŒãŒæ¯”較的ã€å°ã•ãªèª¿æ•´ã§æ¸ˆã‚€ã“ã¨ã¨ã€ä¼çµ±çš„ãªå™¨æ¥½ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã®åº§å¸ãƒ‘ターンã‹ã‚‰è¦‹ã¦ã€é“ç†ã«ã‹ãªã£ãŸã‚‚ã®ã ã‹ã‚‰ã§ã™ã€‚ã¾ãŸã€ã“ã®æ›²ã§ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆãŒæ¼”å¥ã™ã‚‹éŸ³ã¯ã€é ã„ã¨ã“ã‚ã§é³´ã£ã¦ã„るよã†ã«èžã“ãˆã‚‹ã®ãŒé©å½“ã¨æ€ã‚ã‚Œã€ãƒ‘ッセージã¯å分ãªæƒ…æ„Ÿã‚’ã‚‚ã£ã¦æ¼”å¥ã•ã‚Œã¦ã„ã‚‹ã®ã§ã€ãã†ã„ã†åŠ¹æžœã‚’å¾—ã‚‹ã®ã¯å‰²ã¨ç°¡å˜ã ã¨æ€ãˆã¾ã—ãŸã€‚最もé‡è¦ãªè€ƒæ…®ç‚¹ã¯ã€ãƒœãƒ¼ã‚«ãƒ«ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã¨ãã®ä¸ã®ã‚½ãƒãƒœãƒ¼ã‚«ãƒªã‚¹ãƒˆã®é…ç½®ã§ã—ãŸã€‚ソãƒãƒœãƒ¼ã‚«ãƒªã‚¹ãƒˆã¯ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã§æœ€ã‚‚高ã„パート（ソプラノ）をæŒã£ã¦ã„ã¾ã™ãŒã€ã‚¹ãƒ†ãƒ¬ã‚ªéŒ²éŸ³ã§ã¯ã€å½¼å¥³ã¯ã‚¢ãƒ³ã‚µãƒ³ãƒ–ルã®æœ€ã‚‚å·¦ã«ã„るよã†ã«ã¯èžã“ãˆã¾ã›ã‚“。（ç§ã¯ãƒ¬ã‚³ãƒ¼ãƒ‡ã‚£ãƒ³ã‚°ã®é–“ã€ãã“ã«ã„ãŸã®ã§ã€ãã†ã§ãªã„ã“ã¨ãŒã‚ã‹ã‚‹ã®ã§ã™ã€‚）ã“ã‚Œã¯ã‚ˆã‚Šé›£ã—ã
„ã“ã¨ã«ãªã‚Šã¾ã™ã€‚ボイストラック全体ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãƒ‘ンナーã®è¨å®šã¯ã€"
+" \"ens-Create_the_Inconceivable\" "
+"リージョンã«ãŠã„ã¦ã€ï¼’番目ã«é«˜éŸ³ã®æŒæ‰‹ï¼ˆã‚¢ãƒ«ãƒˆï¼‰ãŒã€ã‚½ãƒªã‚¹ãƒˆã§ã‚る最高音ã®æŒæ‰‹ã®ã™ã後ã«æŒã†ã€ãã®çž¬é–“を基準ã¨ã—ãªã‘ã‚Œã°ã„ã‘ãªã„ã¨ã„ã†ã“ã¨ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
-msgstr "ã»ã¼å…¨éƒ¨ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã€ãれをステレオイメージã®ä¸ã§ã ã„ãŸã„æ£ã—ã„ä½ç½®ã«ç½®ããŸã‚ã«ã€ãŠãŠã¾ã‹ãªèª¿æ•´ã‚’ã—ã¦ãã ã•ã„。ãƒã‚¹ã®ãƒ‘ンナーè¨å®šã«åŠ ãˆã¦ã€å€‹ã€…ã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒ‘ンナーã®è¨å®šã‚’変ãˆã‚‹å¿…è¦ãŒã‚ã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。少ã—é•ã†åŠ¹æžœãŒã‚ã‚Šã¾ã™ã€‚マリンãƒãƒˆãƒ©ãƒƒã‚¯ã‚’ã€ä»Šã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼è¨å®šã‚’å«ã‚ã¦å¾®èª¿æ•´ã™ã‚‹ã®ã‚‚よã„ã§ã—ょã†ã€‚ã“ã®ãƒˆãƒ©ãƒƒã‚¯ã¯ã¨ã¦ã‚‚一定ãªã®ã§ã€ã»ã¨ã‚“ã©ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã¯ä½¿ã†å¿…è¦ãŒãªãã€æœ€åˆã®è¨å®šã‚’より完全ã«ã™ã‚‹ã“ã¨ã§å¾—られるもã®ãŒå¤§ãã„ã®ã§ã™ã€‚フェーダーã¯ã€ã‚¿ãƒ¼ãƒ³ã‚¢ãƒƒãƒ—ã™ã‚‹ã‚ˆã‚Šã€ã‚¿ãƒ¼ãƒ³ãƒ€ã‚¦ãƒ³ã™ã‚‹æ–¹ãŒè‰¯ã„ã®ã‚’忘れãªã„よã†ã«ï¼"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
+msgstr ""
+"ã»ã¼å…¨éƒ¨ã®ãƒˆãƒ©ãƒƒã‚¯ã«ã€ãれをステレオイメージã®ä¸ã§ã ã„ãŸã„æ£ã—ã„ä½ç½®ã«ç½®ããŸã‚ã«ã€ãŠãŠã¾ã‹ãªèª¿æ•´ã‚’ã—ã¦ãã ã•ã„。ãƒã‚¹ã®ãƒ‘ンナーè¨å®šã«åŠ ãˆã¦ã€å€‹ã€…ã®ãƒˆãƒ©ãƒƒã‚¯ã®ãƒ‘ンナーã®è¨å®šã‚’変ãˆã‚‹å¿…è¦ãŒã‚ã‚‹ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。少ã—é•ã†åŠ¹æžœãŒã‚ã‚Šã¾ã™ã€‚マリンãƒãƒˆãƒ©ãƒƒã‚¯ã‚’ã€ä»Šã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼è¨å®šã‚’å«ã‚ã¦å¾®èª¿æ•´ã™ã‚‹ã®ã‚‚よã„ã§ã—ょã†ã€‚ã“ã®ãƒˆãƒ©ãƒƒã‚¯ã¯ã¨ã¦ã‚‚一定ãªã®ã§ã€ã»ã¨ã‚“ã©ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã¯ä½¿ã†å¿…è¦ãŒãªãã€æœ€åˆã®è¨å®šã‚’より完全ã«ã™ã‚‹ã“ã¨ã§å¾—られるもã®ãŒå¤§ãã„ã®ã§ã™ã€‚フェーダーã¯ã€ã‚¿ãƒ¼ãƒ³ã‚¢ãƒƒãƒ—ã™ã‚‹ã‚ˆã‚Šã€ã‚¿ãƒ¼ãƒ³ãƒ€ã‚¦ãƒ³ã™ã‚‹æ–¹ãŒè‰¯ã„ã®ã‚’忘れãªã„よã†ã«ï¼"
#. Tag: para
#, no-c-format
@@ -2656,18 +4267,39 @@ msgstr "オートメーショントラックã§ã€ã•ã‚‰ã«èª¿æ•´ã‚’ã™ã‚‹"
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
-msgstr "今ã¾ã§ã¯ã€é›‘ã§ã™ãŒã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãƒ‘ンナーã®è¨å®šã®èª¿æ•´ã¯æ‰‹ã§ã‚„ã£ã¦ãã¾ã—ãŸã€‚ã“ã‚Œã ã¨ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãŒæ¼”å¥ã—ã¦ã„ã‚‹ã¨ãã«è¨å®šã‚’変ãˆã‚ˆã†ã¨ã—ã¦ã‚‚ã§ãã¾ã›ã‚“。セッションを演å¥ã™ã‚‹ã¨ãã«æ¯Žå›žã€ã‚ãªãŸã¯è‡ªåˆ†ã§ã™ã¹ã¦ã®è¨å®šã‚’変更ã—ãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。ã“ã‚Œã¯ã™ãã«è¤‡é›‘ãªã“ã¨ã«ãªã‚Šã¾ã™ã€‚覚ãˆã‚‹ã®ã«å¤§å¤‰ã€ã¨ã„ã†ã®ã¯è¨€ã†ã¾ã§ã‚‚ãªã。「オートメーションã€ã‚’使ã†ã¨ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³æ¼”å¥ã®æ™‚ã«ã€ã‚¨ãƒ•ã‚§ã‚¯ãƒˆï¼ˆãƒ‘ンナーやフェーダーãªã©ï¼‰ã‚’ã€è‡ªå‹•çš„ã«ã‹ã‘ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚オートメーショントラックã¯ã€ãŸã ã®ãƒˆãƒ©ãƒƒã‚¯ã§ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãŒä½•ã‚‚å…¥ã£ã¦ãŠã‚‰ãšã€ã‹ã‚ã‚Šã«ãã‚Œãžã‚Œã®ã‚¨ãƒ•ã‚§ã‚¯ãƒˆã‚’調整ã™ã‚‹æŒ‡ç¤ºãŒå…¥ã£ã¦ã„ã¾ã™ã€‚オートメーショントラックã¯ã€æ™®é€šã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒˆãƒ©ãƒƒã‚¯ã«ä¼¼ã¦ã„ã¾ã™ãŒã€è¨å®šã®å¤‰æ›´ã‚’示ã™ãŸ
ã‚ã®ç·šã¨ç‚¹ãŒè¡¨ç¤ºã•ã‚Œã¾ã™ã€‚オートメーショントラックã¯ã€å®Ÿéš›ã€ã€ŒéŒ²éŸ³ã€ã™ã‚‹ã“ã¨ã‚‚ã§ãã‚‹ã®ã§ã™ãŒã€ç§ãŸã¡ã¯ã‚‚ã£ã¨åŸºæœ¬çš„ãªç·¨é›†æ‰‹æ®µã‚’使ã„ã¾ã—ょã†ã€‚オートメーショントラックã¯ã€ãƒã‚¹ã¨ãƒˆãƒ©ãƒƒã‚¯ã«å‰²å½“ã¦ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
+msgstr ""
+"今ã¾ã§ã¯ã€é›‘ã§ã™ãŒã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãƒ‘ンナーã®è¨å®šã®èª¿æ•´ã¯æ‰‹ã§ã‚„ã£ã¦ãã¾ã—ãŸã€‚ã“ã‚Œã ã¨ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãŒæ¼”å¥ã—ã¦ã„ã‚‹ã¨ãã«è¨å®šã‚’変ãˆã‚ˆã†ã¨ã—ã¦ã‚‚ã§ãã¾ã›ã‚“。セッションを演å¥ã™ã‚‹ã¨ãã«æ¯Žå›žã€ã‚ãªãŸã¯è‡ªåˆ†ã§ã™ã¹ã¦ã®è¨å®šã‚’変更ã—ãªã‘ã‚Œã°ã„ã‘ã¾ã›ã‚“。ã“ã‚Œã¯ã™ãã«è¤‡é›‘ãªã“ã¨ã«ãªã‚Šã¾ã™ã€‚覚ãˆã‚‹ã®ã«å¤§å¤‰ã€ã¨ã„ã†ã®ã¯è¨€ã†ã¾ã§ã‚‚ãªã。「オートメーションã€ã‚’使ã†ã¨ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³æ¼”å¥ã®æ™‚ã«ã€ã‚¨ãƒ•ã‚§ã‚¯ãƒˆï¼ˆãƒ‘ンナーやフェーダーãªã©ï¼‰ã‚’ã€è‡ªå‹•çš„ã«ã‹ã‘ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚オートメーショントラックã¯ã€ãŸã ã®ãƒˆãƒ©ãƒƒã‚¯ã§ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãŒä½•ã‚‚å…¥ã£ã¦ãŠã‚‰ãšã€ã‹ã‚ã‚Šã«ãã‚Œãžã‚Œã®ã‚¨ãƒ•ã‚§ã‚¯ãƒˆã‚’調整ã™ã‚‹æŒ‡ç¤ºãŒå…¥ã£ã¦ã„ã¾ã™ã€‚オートメーショントラックã¯ã€æ™®é€šã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒˆãƒ©ãƒƒã‚¯ã«ä¼¼ã¦ã„ã¾ã™ãŒã€è¨å®šã®å¤‰æ›´ã‚’示ã™ãŸã‚ã®ç
·šã¨ç‚¹ãŒè¡¨ç¤ºã•ã‚Œã¾ã™ã€‚オートメーショントラックã¯ã€å®Ÿéš›ã€ã€ŒéŒ²éŸ³ã€ã™ã‚‹ã“ã¨ã‚‚ã§ãã‚‹ã®ã§ã™ãŒã€ç§ãŸã¡ã¯ã‚‚ã£ã¨åŸºæœ¬çš„ãªç·¨é›†æ‰‹æ®µã‚’使ã„ã¾ã—ょã†ã€‚オートメーショントラックã¯ã€ãƒã‚¹ã¨ãƒˆãƒ©ãƒƒã‚¯ã«å‰²å½“ã¦ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
-msgstr "以下ãŒã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã‚’作æˆã—ã¦ã€è¨å®šã™ã‚‹æ–¹æ³•ã§ã™ã€‚低音ã®ãƒžãƒªãƒ³ãƒãŒã€æœ€åˆã¯å¤§ããã€é«˜éŸ³ãƒžãƒªãƒ³ãƒã¨ã‚½ãƒãƒœãƒ¼ã‚«ãƒªã‚¹ãƒˆãŒåŠ ã‚ã‚‹ã«ã¤ã‚Œã¦å°ã•ããªã‚‹ã‚ˆã†ã«ã€ãã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’è¨å®šã—ã¾ã™ã€‚"
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
+msgstr ""
+"以下ãŒã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã‚’作æˆã—ã¦ã€è¨å®šã™ã‚‹æ–¹æ³•ã§ã™ã€‚低音ã®ãƒžãƒªãƒ³ãƒãŒã€æœ€åˆã¯å¤§ããã€é«˜éŸ³ãƒžãƒªãƒ³ãƒã¨ã‚½ãƒãƒœãƒ¼ã‚«ãƒªã‚¹ãƒˆãŒåŠ ã‚ã‚‹ã«ã¤ã‚Œã¦å°ã•ããªã‚‹ã‚ˆã†ã«ã€ãã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’è¨å®šã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
-msgstr "ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã§ã€ \"Bus-marimba1\" ãƒã‚¹ã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ãƒœãƒƒã‚¯ã‚¹ã‹ã‚‰ 'a' ボタンをクリックã—ã¦ã€ \"automation\" メニューを開ãã¾ã™ã€‚"
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
+msgstr ""
+"ã‚ャンãƒã‚¹ã‚¨ãƒªã‚¢ã§ã€ \"Bus-marimba1\" ãƒã‚¹ã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ãƒœãƒƒã‚¯ã‚¹ã‹ã‚‰ 'a' ボタンをクリックã—ã¦ã€ \"automation\" "
+"メニューを開ãã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -2676,58 +4308,102 @@ msgstr "オートメーションメニューã‹ã‚‰ã€ 'Fader' をクリックã—
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr "ãƒã‚¹ã®ä¸‹ã«ã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã‚’制御ã™ã‚‹ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ãŒç¾ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
-msgstr "オートメーショントラックã®ä¸ã‚’クリックã™ã‚‹ã¨ã€ç‚¹ãŒç¾ã‚Œã¾ã™ã€‚ãã‚Œãžã‚Œã®ç‚¹ã¯ã€ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã®è¨å®šã®çµ¶å¯¾å€¤ã‚’示ã—ã¾ã™ã€‚点ãŒç¾ã‚ŒãŸå¾Œã€ãれをクリックアンドドラッグã™ã‚‹ã¨ã€ã‚«ãƒ¼ã‚½ãƒ«ã®æ¨ªã®é»„色ã„æ•°å—ãŒã€ãã®æ™‚ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã®è¨å®šå€¤ã‚’示ã—ã¾ã™ã€‚"
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
+msgstr ""
+"オートメーショントラックã®ä¸ã‚’クリックã™ã‚‹ã¨ã€ç‚¹ãŒç¾ã‚Œã¾ã™ã€‚ãã‚Œãžã‚Œã®ç‚¹ã¯ã€ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ã®è¨å®šã®çµ¶å¯¾å€¤ã‚’示ã—ã¾ã™ã€‚点ãŒç¾ã‚ŒãŸå¾Œã€ãれをクリックアンドドラッグã™ã‚‹ã¨ã€ã‚«ãƒ¼ã‚½ãƒ«ã®æ¨ªã®é»„色ã„æ•°å—ãŒã€ãã®æ™‚ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã®è¨å®šå€¤ã‚’示ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
-msgstr "オートメーショントラックã«ï¼’ã¤ä»¥ä¸Šã®ç‚¹ãŒã‚ã‚‹ã¨ã€ãれらをçµã¶ç·šãŒç¾ã‚Œã¾ã™ã€‚フェーダーã¯ã€ç‚¹ã‚’ã¤ãªãç·šãŒç¤ºã™ã¨ãŠã‚Šã«ã€çµ¶å¯¾å€¤ã®é–“ã§ãªã‚らã‹ã«å¤‰åŒ–ã—ã¾ã™ã€‚"
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
+msgstr ""
+"オートメーショントラックã«ï¼’ã¤ä»¥ä¸Šã®ç‚¹ãŒã‚ã‚‹ã¨ã€ãれらをçµã¶ç·šãŒç¾ã‚Œã¾ã™ã€‚フェーダーã¯ã€ç‚¹ã‚’ã¤ãªãç·šãŒç¤ºã™ã¨ãŠã‚Šã«ã€çµ¶å¯¾å€¤ã®é–“ã§ãªã‚らã‹ã«å¤‰åŒ–ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
-msgstr "誤りをã—ã¦æœ€åˆã‹ã‚‰ã‚„ã‚Šç›´ã—ãŸã„時ã¯ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ãƒœãƒƒã‚¯ã‚¹ã§ 'clear' ボタンを押ã—ã¾ã™ã€‚残念ã§ã™ãŒã€ï¼‘ã¤ã ã‘ã®ç‚¹ã‚’削除ã™ã‚‹ã“ã¨ã¯ã§ãã¾ã›ã‚“。ã“ã‚Œã¯ã€å®Ÿã¯ã€ä¸è¦ãªã®ã§ã™ã€‚ã‚‚ã—ã€èª¤ã£ã¦ç‚¹ã‚’増やã—éŽãŽãŸã‚‰ã€å˜ã«ã€ä½™åˆ†ãªã‚‚ã®ã¯è¨å®šã‚’一定ã«ã™ã‚‹ãŸã‚ã«ä½¿ãˆã°ã‚ˆã„ã§ã™ã€‚"
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
+msgstr ""
+"誤りをã—ã¦æœ€åˆã‹ã‚‰ã‚„ã‚Šç›´ã—ãŸã„時ã¯ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ãƒœãƒƒã‚¯ã‚¹ã§ 'clear' "
+"ボタンを押ã—ã¾ã™ã€‚残念ã§ã™ãŒã€ï¼‘ã¤ã ã‘ã®ç‚¹ã‚’削除ã™ã‚‹ã“ã¨ã¯ã§ãã¾ã›ã‚“。ã“ã‚Œã¯ã€å®Ÿã¯ã€ä¸è¦ãªã®ã§ã™ã€‚ã‚‚ã—ã€èª¤ã£ã¦ç‚¹ã‚’増やã—éŽãŽãŸã‚‰ã€å˜ã«ã€ä½™åˆ†ãªã‚‚ã®ã¯è¨å®šã‚’一定ã«ã™ã‚‹ãŸã‚ã«ä½¿ãˆã°ã‚ˆã„ã§ã™ã€‚"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
-msgstr "オートメーショントラックã®æœ€åˆã«ã€ 0.0 dB ã®è¨å®šå€¤ã®ç‚¹ã‚’１ã¤ã€åŠ ãˆã¾ã™ã€‚"
+#, no-c-format
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
+msgstr ""
#. Tag: para
-#, fuzzy, no-c-format
+#, no-c-format
msgid "Add one point at about 00:00:15.000, with a setting of 0.0 dB"
-msgstr "ç´„ 00:00:15.000 ã®ã¨ã“ã‚ã«ã€ 0.0 dB ã®è¨å®šå€¤ã®ç‚¹ã‚’１ã¤ã€åŠ ãˆã¾ã™ã€‚"
+msgstr ""
#. Tag: para
-#, fuzzy, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
-msgstr "ç´„ 00:00:16.500 ã®ã¨ã“ã‚（æŒæ‰‹ãŒæŒã„始ã‚ã‚‹ã¨ã“ã‚）ã«ã€ -10.0 dB ã‚ã‚‹ã„ã¯ã€ã‚ãªãŸãŒä»¥å‰è¨å®šã—ãŸã‚‚ã®ã€ã®è¨å®šå€¤ã®ç‚¹ã‚’１ã¤ã€åŠ ãˆã¾ã™ã€‚"
+#, no-c-format
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
-msgstr "ã•ã¦ã€ã“ã‚Œã§ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã®ãƒ—ランãŒã§ãã¾ã—ãŸã€‚ã—ã‹ã—ã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¯ã¾ã ã€ã€Œãƒžãƒ‹ãƒ¥ã‚¢ãƒ«ã€ãƒ¢ãƒ¼ãƒ‰ã®ã¾ã¾ã§ã™ã‹ã‚‰ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã¯ä½•ã®åŠ¹æžœã‚‚æŒã¡ã¾ã›ã‚“。オートメーショントラックã®è¨å®šã‚’ã€ãƒˆãƒ©ãƒƒã‚¯ã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ãƒœãƒƒã‚¯ã‚¹ã®ä¸ã®ãƒ¢ãƒ¼ãƒ‰ãƒœã‚¿ãƒ³ã‚’クリックã—ã¦å¤‰æ›´ã—ã¾ã™ã€‚ボタンã¯ã€ç¾åœ¨ã€\"Manual\" ã§ã™ã€‚"
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
+msgstr ""
+"ã•ã¦ã€ã“ã‚Œã§ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã®ãƒ—ランãŒã§ãã¾ã—ãŸã€‚ã—ã‹ã—ã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¯ã¾ã ã€ã€Œãƒžãƒ‹ãƒ¥ã‚¢ãƒ«ã€ãƒ¢ãƒ¼ãƒ‰ã®ã¾ã¾ã§ã™ã‹ã‚‰ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã¯ä½•ã®åŠ¹æžœã‚‚æŒã¡ã¾ã›ã‚“。オートメーショントラックã®è¨å®šã‚’ã€ãƒˆãƒ©ãƒƒã‚¯ã®ã‚³ãƒ³ãƒˆãƒãƒ¼ãƒ«ãƒœãƒƒã‚¯ã‚¹ã®ä¸ã®ãƒ¢ãƒ¼ãƒ‰ãƒœã‚¿ãƒ³ã‚’クリックã—ã¦å¤‰æ›´ã—ã¾ã™ã€‚ボタンã¯ã€ç¾åœ¨ã€\"Manual\""
+" ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
-msgstr "メニューã‹ã‚‰ã€ \"Play\" ã‚’é¸æŠžã™ã‚‹ã¨ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³è¨å®šãŒæ¼”å¥ã•ã‚Œã¾ã™ã€‚\"Manual\" モードã§ã¯ã€ã™ã¹ã¦ã®è¨å®šã®èª¿æ•´ã‚’手ã§è¡Œã†å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚\"Write\" モードã§ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãŒæ¼”å¥ã•ã‚Œã‚‹é–“ã€ã‚ãªãŸãŒè¡Œã†å¤‰æ›´ã¯ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã«ã€ä»¥å‰ã®è¨å®šã‚’上書ãã—ã¦éŒ²éŸ³ã•ã‚Œã¾ã™ã€‚\"Touch\" モードã§ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãŒæ¼”å¥ã•ã‚Œã‚‹é–“ã€ã‚ãªãŸãŒè¡Œã†å¤‰æ›´ã¯ã€ä»¥å‰ã®ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³è¨å®šã«å–ã‚Šè¾¼ã¾ã‚Œã¾ã™ã€‚"
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
+msgstr ""
+"メニューã‹ã‚‰ã€ \"Play\" ã‚’é¸æŠžã™ã‚‹ã¨ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³è¨å®šãŒæ¼”å¥ã•ã‚Œã¾ã™ã€‚\"Manual\" "
+"モードã§ã¯ã€ã™ã¹ã¦ã®è¨å®šã®èª¿æ•´ã‚’手ã§è¡Œã†å¿…è¦ãŒã‚ã‚Šã¾ã™ã€‚\"Write\" "
+"モードã§ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãŒæ¼”å¥ã•ã‚Œã‚‹é–“ã€ã‚ãªãŸãŒè¡Œã†å¤‰æ›´ã¯ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ãƒˆãƒ©ãƒƒã‚¯ã«ã€ä»¥å‰ã®è¨å®šã‚’上書ãã—ã¦éŒ²éŸ³ã•ã‚Œã¾ã™ã€‚\"Touch\" "
+"モードã§ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ãŒæ¼”å¥ã•ã‚Œã‚‹é–“ã€ã‚ãªãŸãŒè¡Œã†å¤‰æ›´ã¯ã€ä»¥å‰ã®ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³è¨å®šã«å–ã‚Šè¾¼ã¾ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr "最後ã«ã€ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã•ã‚ŒãŸãƒ‘ンナーã®å¤‰æ›´ãŒæ°—ã«ã„ã‚‹ã‹ã€èžã„ã¦ç¢ºèªã—ã¾ã™ã€‚良ããªã„ã¨ãã¯ã€ä»Šã§ã‚‚後ã‹ã‚‰ã§ã‚‚ã€å¸¸ã«å¤‰æ›´ã™ã‚‹ã“ã¨ãŒå¯èƒ½ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
-msgstr "ã•ã¦ã€ã“ã“ãŒé›£ã—ã„ã¨ã“ã‚ã§ã™ï¼ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã‚’使ã£ã¦ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³å…¨ä½“ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãƒ‘ンナーã®è¨å®šã‚’変更ã—ã¾ã™ã€‚特ã«ã€ãƒœã‚¤ã‚¹ãƒˆãƒ©ãƒƒã‚¯ãŒä¸€å®šã§ã‚るよã†ã«æ³¨æ„ãã ã•ã„。"
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
+msgstr ""
+"ã•ã¦ã€ã“ã“ãŒé›£ã—ã„ã¨ã“ã‚ã§ã™ï¼ã‚ªãƒ¼ãƒˆãƒ¡ãƒ¼ã‚·ãƒ§ãƒ³ã‚’使ã£ã¦ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³å…¨ä½“ã®ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãƒ‘ンナーã®è¨å®šã‚’変更ã—ã¾ã™ã€‚特ã«ã€ãƒœã‚¤ã‚¹ãƒˆãƒ©ãƒƒã‚¯ãŒä¸€å®šã§ã‚るよã†ã«æ³¨æ„ãã ã•ã„。"
#. Tag: title
#, no-c-format
@@ -2736,8 +4412,12 @@ msgstr "ãã®ä»–ã€ã‚„ã‚‹ã¨è‰¯ã„ã“ã¨"
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
-msgstr "ミã‚シング段階ã¯ã€ãŸãã•ã‚“ã®å°ã•ãªï¼ˆãã—ã¦å¤§ããªï¼‰èª¿æ•´ã§ã„ã£ã±ã„ã§ã™ã€‚以下ã¯ã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãƒ‘ンナーã®è¨å®šå¤‰æ›´ä»¥å¤–ã«ã€ã‚ãªãŸãŒã‚„ã£ã¦ã¿ãŸã„ã¨æ€ã†ã‹ã‚‚ã—ã‚Œãªã„ã“ã¨ã§ã™ã€‚"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
+msgstr ""
+"ミã‚シング段階ã¯ã€ãŸãã•ã‚“ã®å°ã•ãªï¼ˆãã—ã¦å¤§ããªï¼‰èª¿æ•´ã§ã„ã£ã±ã„ã§ã™ã€‚以下ã¯ã€ãƒ•ã‚§ãƒ¼ãƒ€ãƒ¼ã¨ãƒ‘ンナーã®è¨å®šå¤‰æ›´ä»¥å¤–ã«ã€ã‚ãªãŸãŒã‚„ã£ã¦ã¿ãŸã„ã¨æ€ã†ã‹ã‚‚ã—ã‚Œãªã„ã“ã¨ã§ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -2746,33 +4426,56 @@ msgstr "トラックを整列ã—ãªãŠã—ã¦ã€ãれらãŒåŒæœŸã™ã‚‹ã‚ˆã†ã«
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr "椅åã®éŸ³ã®å…¥ã£ã¦ã„るリージョンを使ã†ã“ã¨ã®ã§ãã‚‹ã€æ„味ã®ã‚る方法を探ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
-msgstr "今ã¯ä½¿ã£ã¦ãªã„æ–¹ã®ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã€ä»Šä½¿ã£ã¦ã„ã‚‹ã‚‚ã®ã¨æ¯”ã¹ã‚‹ã€‚リージョンã®ä»–ã®çµ„ã¿åˆã‚ã›ã‚’試ã—ã¦ã¿ã‚‹ã€‚セッションã‹ã‚‰ä½¿ã‚ãªã„リージョンをå–り除ã。"
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
+msgstr ""
+"今ã¯ä½¿ã£ã¦ãªã„æ–¹ã®ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã€ä»Šä½¿ã£ã¦ã„ã‚‹ã‚‚ã®ã¨æ¯”ã¹ã‚‹ã€‚リージョンã®ä»–ã®çµ„ã¿åˆã‚ã›ã‚’試ã—ã¦ã¿ã‚‹ã€‚セッションã‹ã‚‰ä½¿ã‚ãªã„リージョンをå–り除ã。"
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
-msgstr "今ã¯ä½¿ã£ã¦ãªã„æ–¹ã®å¼¦æ¥½å™¨ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã€ä»Šä½¿ã£ã¦ã„ã‚‹ã‚‚ã®ã¨æ¯”ã¹ã‚‹ã€‚ã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚ˆã‚Šãšã£ã¨é•·ã„ã®ã§ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ä¸ã®ç¯„囲をé¸æŠžã—ã¦å–り替ãˆã‚‹ã®ã‚‚良ã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。"
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
+msgstr ""
+"今ã¯ä½¿ã£ã¦ãªã„æ–¹ã®å¼¦æ¥½å™¨ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚’ã€ä»Šä½¿ã£ã¦ã„ã‚‹ã‚‚ã®ã¨æ¯”ã¹ã‚‹ã€‚ã“ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã‚¯ãƒ©ãƒªãƒãƒƒãƒˆã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã‚ˆã‚Šãšã£ã¨é•·ã„ã®ã§ã€ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ä¸ã®ç¯„囲をé¸æŠžã—ã¦å–り替ãˆã‚‹ã®ã‚‚良ã„ã‹ã‚‚ã—ã‚Œã¾ã›ã‚“。"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
-msgstr "å‹é”ã€ã‚ã‚‹ã„ã¯ã€å°‘ãªãã¦ã‚‚誰ã‹ä»–ã®äººã«ã€ä»Šæº–å‚™ä¸ã®ãƒŸãƒƒã‚¯ã‚¹ã‚’èžã„ã¦ã‚‚らã†ã€‚今ã®å•é¡Œã«ã¤ã„ã¦ã®æ„見を求ã‚ãŸã‚Šã€ã‚‚ã£ã¨ä¸€èˆ¬çš„ãªãƒªã‚¹ãƒŠãƒ¼ã¨ã—ã¦æ‰±ã†ã€‚"
+#, no-c-format
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
-msgstr "ミックスをã€ç•°ãªã‚‹ç¨®é¡žã®å†ç”Ÿè£…置（スピーカーã¨ã‚¢ãƒ³ãƒ—）を使ã£ã¦èžã。åŒã˜ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªä¿¡å·ã‚‚ã€ç•°ãªã‚‹è£…ç½®ã§æ¼”å¥ã™ã‚‹ã¨é•ã£ã¦èžã“ãˆã‚‹ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚"
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
+msgstr ""
+"ミックスをã€ç•°ãªã‚‹ç¨®é¡žã®å†ç”Ÿè£…置（スピーカーã¨ã‚¢ãƒ³ãƒ—）を使ã£ã¦èžã。åŒã˜ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªä¿¡å·ã‚‚ã€ç•°ãªã‚‹è£…ç½®ã§æ¼”å¥ã™ã‚‹ã¨é•ã£ã¦èžã“ãˆã‚‹ã“ã¨ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
-msgstr "曲をミã‚シングã—終ã‚ã£ãŸã‚‰ã€ãれをèžã‹ãªãã¦ã¯ã„ã‘ã¾ã›ã‚“。ã§ãã‚‹ã ã‘ãŸãã•ã‚“ã®ç•°ãªã‚‹ãƒ‡ãƒã‚¤ã‚¹ã§èžãã¾ã™ã€‚ヘッドホンã€ã‚¹ãƒ”ーカーã€ãƒ›ãƒ¼ãƒ シアターシステムã€ãªã©ã§ã™ã€‚ã‚ãªãŸã®å‹äººã‚„åŒåƒšã«ã‚ãªãŸã®ä½œå“ã‚’èžã„ã¦ãれるよã†ã«é ¼ã¿ã¾ã—ょã†ã€‚ä»–ã®äººã¯ã€ã‚ãªãŸã¨ã¯é•ã£ãŸèžã方をã™ã‚‹ã§ã—ょã†ã—ã€ç•°ãªã‚‹ãƒ•ã‚£ãƒ¼ãƒ‰ãƒãƒƒã‚¯ã‚’ãれるã§ã—ょã†ã€‚"
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
+msgstr ""
+"曲をミã‚シングã—終ã‚ã£ãŸã‚‰ã€ãれをèžã‹ãªãã¦ã¯ã„ã‘ã¾ã›ã‚“。ã§ãã‚‹ã ã‘ãŸãã•ã‚“ã®ç•°ãªã‚‹ãƒ‡ãƒã‚¤ã‚¹ã§èžãã¾ã™ã€‚ヘッドホンã€ã‚¹ãƒ”ーカーã€ãƒ›ãƒ¼ãƒ シアターシステムã€ãªã©ã§ã™ã€‚ã‚ãªãŸã®å‹äººã‚„åŒåƒšã«ã‚ãªãŸã®ä½œå“ã‚’èžã„ã¦ãれるよã†ã«é ¼ã¿ã¾ã—ょã†ã€‚ä»–ã®äººã¯ã€ã‚ãªãŸã¨ã¯é•ã£ãŸèžã方をã™ã‚‹ã§ã—ょã†ã—ã€ç•°ãªã‚‹ãƒ•ã‚£ãƒ¼ãƒ‰ãƒãƒƒã‚¯ã‚’ãれるã§ã—ょã†ã€‚"
#. Tag: title
#, no-c-format
@@ -2781,8 +4484,14 @@ msgstr "セッションã®ãƒžã‚¹ã‚¿ãƒªãƒ³ã‚°"
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
-msgstr "セッションマスタリングã®çœŸã®ãƒžã‚¹ã‚¿ãƒ¼ã«ãªã‚‹ãŸã‚ã«ã¯ã€ä½•å¹´ã‚‚ã®çµŒé¨“ã¨ç›®çš„フォーマットã®ãŸã‚ã®æ³¨æ„æ·±ã„最é©åŒ–ãŒå¿…è¦ã§ã™ã€‚é©ç”¨ã™ã¹ãイコライゼーションã¨ãƒ•ã‚£ãƒ«ã‚¿ãƒªãƒ³ã‚°ã®è¨å®šã‚’æ£ã—ã知るã“ã¨ã¯ã€ãれ自身ã§ã‚¢ãƒ¼ãƒˆã§ã‚ã‚Šã€å®Œå…¨ãªãƒ¦ãƒ¼ã‚¶ã‚¬ã‚¤ãƒ‰ãŒå¿…è¦ã§ã™ã€‚ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‹ã‚‰ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’å–り出ã—ã¦ã€ä½¿ã„ã‚„ã™ã„フォーマットã«ã™ã‚‹ã“ã¨ã‚’説明ã—ã¾ã™ã€‚"
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
+msgstr ""
+"セッションマスタリングã®çœŸã®ãƒžã‚¹ã‚¿ãƒ¼ã«ãªã‚‹ãŸã‚ã«ã¯ã€ä½•å¹´ã‚‚ã®çµŒé¨“ã¨ç›®çš„フォーマットã®ãŸã‚ã®æ³¨æ„æ·±ã„最é©åŒ–ãŒå¿…è¦ã§ã™ã€‚é©ç”¨ã™ã¹ãイコライゼーションã¨ãƒ•ã‚£ãƒ«ã‚¿ãƒªãƒ³ã‚°ã®è¨å®šã‚’æ£ã—ã知るã“ã¨ã¯ã€ãれ自身ã§ã‚¢ãƒ¼ãƒˆã§ã‚ã‚Šã€å®Œå…¨ãªãƒ¦ãƒ¼ã‚¶ã‚¬ã‚¤ãƒ‰ãŒå¿…è¦ã§ã™ã€‚ã“ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã¯ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‹ã‚‰ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’å–り出ã—ã¦ã€ä½¿ã„ã‚„ã™ã„フォーマットã«ã™ã‚‹ã“ã¨ã‚’説明ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -2791,7 +4500,9 @@ msgstr "オーディオをエクスãƒãƒ¼ãƒˆã™ã‚‹æ–¹æ³•"
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr "<application>Ardour</application> セッションã‹ã‚‰ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’エクスãƒãƒ¼ãƒˆã™ã‚‹ã«ã¯ã€ï¼“ã¤ã®æ–¹æ³•ãŒã‚ã‚Šã¾ã™ã€‚"
#. Tag: para
@@ -2841,8 +4552,12 @@ msgstr "タイムラインã®ä¸Šã®ã€ã‚る範囲ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’ã™ã¹ã¦
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
-msgstr "範囲を〠\"Select/Move Ranges\" ツールã§é¸æŠžã—ã¾ã™ã€‚ã‚ãªãŸãŒé¸æŠžã—ãŸãƒˆãƒ©ãƒƒã‚¯ã«ã‹ã‹ã‚らãšã€ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ãŒã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã•ã‚Œã¾ã™ã€‚"
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
+msgstr ""
+"範囲を〠\"Select/Move Ranges\" "
+"ツールã§é¸æŠžã—ã¾ã™ã€‚ã‚ãªãŸãŒé¸æŠžã—ãŸãƒˆãƒ©ãƒƒã‚¯ã«ã‹ã‹ã‚らãšã€ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ãŒã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã•ã‚Œã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -2861,8 +4576,12 @@ msgstr "セッションã®ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’エクスãƒãƒ¼ãƒˆã™ã‚‹
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
-msgstr "メニューã‹ã‚‰ã€ 'Session > Export > Export > Export session to audiofile' ã‚’é¸æŠžã™ã‚‹ã‹ã€ã‚ーボード㧠'Ctrl + Alt + e' を押ã—ã¾ã™ã€‚"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgstr ""
+"メニューã‹ã‚‰ã€ 'Session > Export > Export > Export session to audiofile' "
+"ã‚’é¸æŠžã™ã‚‹ã‹ã€ã‚ーボード㧠'Ctrl + Alt + e' を押ã—ã¾ã™ã€‚"
#. Tag: title
#, no-c-format
@@ -2871,8 +4590,13 @@ msgstr "エクスãƒãƒ¼ãƒˆã‚¦ã‚¤ãƒ³ãƒ‰ã‚¦ã‚’使ã†"
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
-msgstr "ã©ã®ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆæ–¹æ³•ã‚’使ã£ã¦ã‚‚〠\"Export\" ウインドウã¯ä¼¼ã¦ã„ã¾ã™ã€‚リージョンをエクスãƒãƒ¼ãƒˆã™ã‚‹ã¨ãã¯ã€ã©ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’エクスãƒãƒ¼ãƒˆã™ã‚‹ã‹ã‚’é¸æŠžã™ã‚‹ã“ã¨ã¯ã§ãã¾ã›ã‚“。（定義ã«ã‚ˆã‚Šã€ã‚ãªãŸã¯ãã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ãƒˆãƒ©ãƒƒã‚¯ã ã‘をエクスãƒãƒ¼ãƒˆã—ã¾ã™ã€‚）"
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
+msgstr ""
+"ã©ã®ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆæ–¹æ³•ã‚’使ã£ã¦ã‚‚〠\"Export\" "
+"ウインドウã¯ä¼¼ã¦ã„ã¾ã™ã€‚リージョンをエクスãƒãƒ¼ãƒˆã™ã‚‹ã¨ãã¯ã€ã©ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’エクスãƒãƒ¼ãƒˆã™ã‚‹ã‹ã‚’é¸æŠžã™ã‚‹ã“ã¨ã¯ã§ãã¾ã›ã‚“。（定義ã«ã‚ˆã‚Šã€ã‚ãªãŸã¯ãã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã®ãƒˆãƒ©ãƒƒã‚¯ã ã‘をエクスãƒãƒ¼ãƒˆã—ã¾ã™ã€‚）"
#. Tag: title
#, no-c-format
@@ -2881,8 +4605,20 @@ msgstr "エクスãƒãƒ¼ãƒˆã™ã‚‹ãƒˆãƒ©ãƒƒã‚¯ã‚’é¸ã¶"
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
-msgstr "デフォルトã§ã€<application>Ardour</application> ã¯ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã•ã‚Œã‚‹ç¯„囲ã‚ã‚‹ã„ã¯ã‚»ãƒƒã‚·ãƒ§ãƒ³ã«å«ã¾ã‚Œã‚‹ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’エクスãƒãƒ¼ãƒˆã—よã†ã¨ã—ã¾ã™ã€‚実際ã«ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã•ã‚Œã‚‹ã®ã¯ã€ãƒžã‚¹ã‚¿ãƒ¼å‡ºåŠ›ãƒã‚¹ã‚’経由ã™ã‚‹ã€ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã§ã™ã€‚\"Export\" ウインドウã®å³ç«¯ã§ã€ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã™ã‚‹ãƒˆãƒ©ãƒƒã‚¯ã®ãƒªã‚¹ãƒˆã‚’見るã“ã¨ãŒã§ãã¾ã™ã€‚ 'Specific Tracks' ボタンを押ã™ã¨ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã®ãƒªã‚¹ãƒˆã®ä¸ã‹ã‚‰é¸æŠžã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚特定ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’é¸æŠžã™ã‚‹ã®ã¯ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®å‡ºåŠ›ã‚’エクスãƒãƒ¼ãƒˆã—ãªã„ã¨ãã§ãªã„ã¨æ„味ãŒã‚ã‚Šã¾ã›ã‚“ã‹ã‚‰ã€ãŸã¶ã‚“ã€æœ€åˆã«ãã®é¸æŠžã‚’外ã™ã®ãŒè‰¯ã„ã§ã—ょã†ã€‚"
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
+msgstr ""
+"デフォルトã§ã€<application>Ardour</application> "
+"ã¯ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã•ã‚Œã‚‹ç¯„囲ã‚ã‚‹ã„ã¯ã‚»ãƒƒã‚·ãƒ§ãƒ³ã«å«ã¾ã‚Œã‚‹ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’エクスãƒãƒ¼ãƒˆã—よã†ã¨ã—ã¾ã™ã€‚実際ã«ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã•ã‚Œã‚‹ã®ã¯ã€ãƒžã‚¹ã‚¿ãƒ¼å‡ºåŠ›ãƒã‚¹ã‚’経由ã™ã‚‹ã€ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã§ã™ã€‚\"Export\""
+" ウインドウã®å³ç«¯ã§ã€ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã™ã‚‹ãƒˆãƒ©ãƒƒã‚¯ã®ãƒªã‚¹ãƒˆã‚’見るã“ã¨ãŒã§ãã¾ã™ã€‚ 'Specific Tracks' "
+"ボタンを押ã™ã¨ã€ã‚»ãƒƒã‚·ãƒ§ãƒ³ã®ã™ã¹ã¦ã®ãƒˆãƒ©ãƒƒã‚¯ã¨ãƒã‚¹ã®ãƒªã‚¹ãƒˆã®ä¸ã‹ã‚‰é¸æŠžã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚特定ã®ãƒˆãƒ©ãƒƒã‚¯ã‚’é¸æŠžã™ã‚‹ã®ã¯ã€ãƒžã‚¹ã‚¿ãƒ¼ãƒã‚¹ã®å‡ºåŠ›ã‚’エクスãƒãƒ¼ãƒˆã—ãªã„ã¨ãã§ãªã„ã¨æ„味ãŒã‚ã‚Šã¾ã›ã‚“ã‹ã‚‰ã€ãŸã¶ã‚“ã€æœ€åˆã«ãã®é¸æŠžã‚’外ã™ã®ãŒè‰¯ã„ã§ã—ょã†ã€‚"
#. Tag: title
#, no-c-format
@@ -2890,14 +4626,25 @@ msgid "Choose the Export Format"
msgstr "エクスãƒãƒ¼ãƒˆãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã‚’é¸ã¶"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
-msgstr "<application>Ardour</application> ã¯ã€ã¨ã¦ã‚‚多ãã®å‡ºåŠ›ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã‚’æä¾›ã—ã¦ãŠã‚Šã€ã©ã‚Œã‚’é¸ã‚“ã ら良ã„ã‹å›°ã‚‹ã§ã—ょã†ã€‚ã™ã¹ã¦ã®ãƒ•ã‚¡ã‚¤ãƒ«ã‚¿ã‚¤ãƒ—ã§ã€ã™ã¹ã¦ã®ã‚ªãƒ—ションãŒä½¿ãˆã‚‹ã‚ã‘ã§ã¯ã‚ã‚Šã¾ã›ã‚“。Fedora Linux ã¯ã€æ³•å¾‹ä¸Šã®ç†ç”±ã«ã‚ˆã‚Šã€ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§ã¯ MP3 ファイルをサãƒãƒ¼ãƒˆã—ã¾ã›ã‚“。詳細ã¯ã€ <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" /> ã‚’å‚照下ã•ã„。"
+#, no-c-format
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
-msgstr "ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ï¼’４ビットサンプルã€48 kHz レートã§éŒ²éŸ³ã•ã‚Œã¦ã„ã¾ã™ã€‚セッションã®ã©ã“ã§ã‚‚ã€ã‚ˆã‚Šé«˜ã„サンプルフォーマットã‚ã‚‹ã„ã¯ã‚µãƒ³ãƒ—ルレートã§ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã™ã‚‹ã¨ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªå“質ãŒä½Žä¸‹ã—ã¾ã™ã€‚"
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
+msgstr ""
+"ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¯ã€ï¼’４ビットサンプルã€48 kHz "
+"レートã§éŒ²éŸ³ã•ã‚Œã¦ã„ã¾ã™ã€‚セッションã®ã©ã“ã§ã‚‚ã€ã‚ˆã‚Šé«˜ã„サンプルフォーマットã‚ã‚‹ã„ã¯ã‚µãƒ³ãƒ—ルレートã§ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã™ã‚‹ã¨ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªå“質ãŒä½Žä¸‹ã—ã¾ã™ã€‚"
#. Tag: para
#, no-c-format
@@ -2906,62 +4653,129 @@ msgstr "ãŠã™ã™ã‚ã®ãƒ•ã‚¡ã‚¤ãƒ«ã‚¿ã‚¤ãƒ—："
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
-msgstr "WAV: マイクãƒã‚½ãƒ•ãƒˆã«ã‚ˆã‚Šè¨è¨ˆã•ã‚ŒãŸã€éžåœ§ç¸®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€‚ã•ã‚‰ã«ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæ“作をã™ã‚‹äºˆå®šã®ã‚ã‚‹ã¨ãã«é™ã‚Šã€ãŠã™ã™ã‚ã—ã¾ã™ã€‚オーディオデータã ã‘ã‚’å«ã‚€ã®ã§ã€ã‚¿ã‚¤ãƒˆãƒ«ã€ã‚¢ãƒ¼ãƒ†ã‚£ã‚¹ãƒˆã€ãã—ã¦ä½œæ›²è€…ãªã©ã®æƒ…å ±ã¯å¤±ã‚ã‚Œã¾ã™ã€‚ã»ã¨ã‚“ã©ã€ã©ã®ãƒ‡ãƒã‚¤ã‚¹ã§ã‚‚æ¼”å¥å¯èƒ½ã§ã™ã€‚"
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
+msgstr ""
+"WAV: "
+"マイクãƒã‚½ãƒ•ãƒˆã«ã‚ˆã‚Šè¨è¨ˆã•ã‚ŒãŸã€éžåœ§ç¸®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€‚ã•ã‚‰ã«ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæ“作をã™ã‚‹äºˆå®šã®ã‚ã‚‹ã¨ãã«é™ã‚Šã€ãŠã™ã™ã‚ã—ã¾ã™ã€‚オーディオデータã ã‘ã‚’å«ã‚€ã®ã§ã€ã‚¿ã‚¤ãƒˆãƒ«ã€ã‚¢ãƒ¼ãƒ†ã‚£ã‚¹ãƒˆã€ãã—ã¦ä½œæ›²è€…ãªã©ã®æƒ…å ±ã¯å¤±ã‚ã‚Œã¾ã™ã€‚ã»ã¨ã‚“ã©ã€ã©ã®ãƒ‡ãƒã‚¤ã‚¹ã§ã‚‚æ¼”å¥å¯èƒ½ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
-msgstr "AIFF: アップルã«ã‚ˆã‚Šè¨è¨ˆã•ã‚ŒãŸã€éžåœ§ç¸®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€‚ã•ã‚‰ã«ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæ“作をã™ã‚‹äºˆå®šã®ã‚ã‚‹ã¨ãã«é™ã‚Šã€ãŠã™ã™ã‚ã—ã¾ã™ã€‚オーディオデータã ã‘ã‚’å«ã‚€ã®ã§ã€ã‚¿ã‚¤ãƒˆãƒ«ã€ã‚¢ãƒ¼ãƒ†ã‚£ã‚¹ãƒˆã€ãã—ã¦ä½œæ›²è€…ãªã©ã®æƒ…å ±ã¯å¤±ã‚ã‚Œã¾ã™ã€‚ã»ã¨ã‚“ã©ã® DAW ã¨ã€ã„ãã¤ã‹ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ—レーヤーã§æ¼”å¥å¯èƒ½ã§ã™ã€‚"
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
+msgstr ""
+"AIFF: "
+"アップルã«ã‚ˆã‚Šè¨è¨ˆã•ã‚ŒãŸã€éžåœ§ç¸®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€‚ã•ã‚‰ã«ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæ“作をã™ã‚‹äºˆå®šã®ã‚ã‚‹ã¨ãã«é™ã‚Šã€ãŠã™ã™ã‚ã—ã¾ã™ã€‚オーディオデータã ã‘ã‚’å«ã‚€ã®ã§ã€ã‚¿ã‚¤ãƒˆãƒ«ã€ã‚¢ãƒ¼ãƒ†ã‚£ã‚¹ãƒˆã€ãã—ã¦ä½œæ›²è€…ãªã©ã®æƒ…å ±ã¯å¤±ã‚ã‚Œã¾ã™ã€‚ã»ã¨ã‚“ã©ã®"
+" DAW ã¨ã€ã„ãã¤ã‹ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ—レーヤーã§æ¼”å¥å¯èƒ½ã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
-msgstr "FLAC: オープンソースã®åœ§ç¸®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€‚「å¯é€†ã€ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã§ã™ã€‚ã¤ã¾ã‚Šã€åœ§ç¸®ã¨å±•é–‹ã§ã€ã„ã‹ãªã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæƒ…å ±ã‚‚å¤±ã‚ã‚Œã¾ã›ã‚“。オーディオå“質ã¯ã€WAV ã‚„ AIFF フォーマットã¨åŒã˜ã§ã™ã€‚メタデータをå«ã‚€ã“ã¨ãŒã§ãã‚‹ã®ã§ã€ã‚¿ã‚¤ãƒˆãƒ«ã€ã‚¢ãƒ¼ãƒ†ã‚£ã‚¹ãƒˆã€ãã—ã¦ä½œæ›²å®¶ãªã©ã®æƒ…å ±ãŒä¿æŒã•ã‚Œã¾ã™ã€‚Linux ã«ãŠã„ã¦ã€ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§åºƒãサãƒãƒ¼ãƒˆã•ã‚Œã¦ã„ã¾ã™ã€‚ä»–ã®ä¸»ãªã‚ªãƒšãƒ¬ãƒ¼ãƒ†ã‚£ãƒ³ã‚°ã‚·ã‚¹ãƒ†ãƒ ã«ã¤ã„ã¦ã¯ã€<ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> ã® <citetitle>Download Extras (FLAC Website)</citetitle> ã§ã€FLAC ファイルを演å¥ã§ãるアプリケーションã¨ãƒ—ãƒã‚°ãƒ©ãƒ ã®ãƒªã‚¹ãƒˆã‚’å¾—ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ã“ã‚ŒãŒã€æ™®é€šã€ãƒªã‚¹ãƒŠãƒ¼ã«é«˜å“質ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’é…布ã™ã‚‹ã®ã«ã€æœ€é©ãªé¸æŠžã§ã™ã€‚"
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
+msgstr ""
+"FLAC: "
+"オープンソースã®åœ§ç¸®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€‚「å¯é€†ã€ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã§ã™ã€‚ã¤ã¾ã‚Šã€åœ§ç¸®ã¨å±•é–‹ã§ã€ã„ã‹ãªã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæƒ…å ±ã‚‚å¤±ã‚ã‚Œã¾ã›ã‚“。オーディオå“質ã¯ã€WAV ã‚„ "
+"AIFF フォーマットã¨åŒã˜ã§ã™ã€‚メタデータをå«ã‚€ã“ã¨ãŒã§ãã‚‹ã®ã§ã€ã‚¿ã‚¤ãƒˆãƒ«ã€ã‚¢ãƒ¼ãƒ†ã‚£ã‚¹ãƒˆã€ãã—ã¦ä½œæ›²å®¶ãªã©ã®æƒ…å ±ãŒä¿æŒã•ã‚Œã¾ã™ã€‚Linux "
+"ã«ãŠã„ã¦ã€ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§åºƒãサãƒãƒ¼ãƒˆã•ã‚Œã¦ã„ã¾ã™ã€‚ä»–ã®ä¸»ãªã‚ªãƒšãƒ¬ãƒ¼ãƒ†ã‚£ãƒ³ã‚°ã‚·ã‚¹ãƒ†ãƒ ã«ã¤ã„ã¦ã¯ã€<ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> ã® "
+"<citetitle>Download Extras (FLAC Website)</citetitle> ã§ã€FLAC "
+"ファイルを演å¥ã§ãるアプリケーションã¨ãƒ—ãƒã‚°ãƒ©ãƒ ã®ãƒªã‚¹ãƒˆã‚’å¾—ã‚‹ã“ã¨ãŒã§ãã¾ã™ã€‚ã“ã‚ŒãŒã€æ™®é€šã€ãƒªã‚¹ãƒŠãƒ¼ã«é«˜å“質ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’é…布ã™ã‚‹ã®ã«ã€æœ€é©ãªé¸æŠžã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
-msgstr "Ogg/Vorbis: オープンソースã®åœ§ç¸®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€‚「éžå¯é€†ã€ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€ã¤ã¾ã‚Šã€åœ§ç¸®ã¨å±•é–‹ã§ã€ã„ãらã‹ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæƒ…å ±ãŒå¤±ã‚ã‚Œã¾ã™ã€‚オーディオå“質㯠WAV ã‚„ AIFF ã«åŠ£ã‚Šã¾ã™ãŒã€æ™®é€šã¯ã€ MP3 より優れã¾ã™ã€‚メタデータをå«ã‚€ã“ã¨ãŒã§ãã‚‹ã®ã§ã€ã‚¿ã‚¤ãƒˆãƒ«ã€ã‚¢ãƒ¼ãƒ†ã‚£ã‚¹ãƒˆã€ãã—ã¦ä½œæ›²å®¶ãªã©ã®æƒ…å ±ãŒä¿æŒã•ã‚Œã¾ã™ã€‚Linux ã«ãŠã„ã¦ã€ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§åºƒãサãƒãƒ¼ãƒˆã•ã‚Œã¦ã„ã¾ã™ã€‚ä»–ã®ä¸»ãªã‚ªãƒšãƒ¬ãƒ¼ãƒ†ã‚£ãƒ³ã‚°ã‚·ã‚¹ãƒ†ãƒ ã«ã¤ã„ã¦ã¯ã€<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" /> ã®æ‰‹é †ã«å¾“ã£ã¦ãã ã•ã„。ã“ã‚Œã¯ã€ãƒªã‚¹ãƒŠãƒ¼ã«é«˜å“質ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’é…布ã™ã‚‹ã€è‰¯ã„é¸æŠžã§ã™ã€‚"
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
+msgstr ""
+"Ogg/Vorbis: "
+"オープンソースã®åœ§ç¸®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€‚「éžå¯é€†ã€ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã€ã¤ã¾ã‚Šã€åœ§ç¸®ã¨å±•é–‹ã§ã€ã„ãらã‹ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæƒ…å ±ãŒå¤±ã‚ã‚Œã¾ã™ã€‚オーディオå“質㯠WAV ã‚„ "
+"AIFF ã«åŠ£ã‚Šã¾ã™ãŒã€æ™®é€šã¯ã€ MP3 "
+"より優れã¾ã™ã€‚メタデータをå«ã‚€ã“ã¨ãŒã§ãã‚‹ã®ã§ã€ã‚¿ã‚¤ãƒˆãƒ«ã€ã‚¢ãƒ¼ãƒ†ã‚£ã‚¹ãƒˆã€ãã—ã¦ä½œæ›²å®¶ãªã©ã®æƒ…å ±ãŒä¿æŒã•ã‚Œã¾ã™ã€‚Linux "
+"ã«ãŠã„ã¦ã€ãƒ‡ãƒ•ã‚©ãƒ«ãƒˆã§åºƒãサãƒãƒ¼ãƒˆã•ã‚Œã¦ã„ã¾ã™ã€‚ä»–ã®ä¸»ãªã‚ªãƒšãƒ¬ãƒ¼ãƒ†ã‚£ãƒ³ã‚°ã‚·ã‚¹ãƒ†ãƒ ã«ã¤ã„ã¦ã¯ã€<citetitle>Vorbis "
+"Website</citetitle> <ulink url=\"http://www.vorbis.com/\" /> "
+"ã®æ‰‹é †ã«å¾“ã£ã¦ãã ã•ã„。ã“ã‚Œã¯ã€ãƒªã‚¹ãƒŠãƒ¼ã«é«˜å“質ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’é…布ã™ã‚‹ã€è‰¯ã„é¸æŠžã§ã™ã€‚"
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
-msgstr "サンプルフォーマット（<xref linkend=\"sect-Musicians_Guide-Sample_Format\" /> ã§èª¬æ˜Žã•ã‚Œã¦ã„ã¾ã™ã€‚）を高ãè¨å®šã™ã‚‹ã¨ã€ã‚µãƒ³ãƒ—ルã”ã¨ã«ä¿å˜ã•ã‚Œã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæƒ…å ±ã‚’å¢—ã‚„ã™ã“ã¨ãŒã§ãã¾ã™ã€‚３２ビットサãƒãƒ¼ãƒˆã¯ã€ã»ã¨ã‚“ã©å˜åœ¨ã—ãªã„ã®ã§ã€è¿‘ã„å°†æ¥ã«ã‚ãŸã£ã¦ã‚‚ã“ã®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã‚’使ã†å¿…è¦ãŒã‚ã‚‹ã“ã¨ã¯ãªã„ã§ã—ょã†ã€‚\"float\" フォーマットã¯ã€ç•°ãªã‚‹å†…部的ãªãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã§ã‚µãƒ³ãƒ—ルをä¿å˜ã™ã‚‹ã‚‚ã®ã§ã€ã¾ãšã€å¿…è¦ã¨ã™ã‚‹ã“ã¨ã¯ãªã„ã§ã—ょã†ã€‚"
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
+msgstr ""
+"サンプルフォーマット（<xref linkend=\"sect-Musicians_Guide-Sample_Format\" /> "
+"ã§èª¬æ˜Žã•ã‚Œã¦ã„ã¾ã™ã€‚）を高ãè¨å®šã™ã‚‹ã¨ã€ã‚µãƒ³ãƒ—ルã”ã¨ã«ä¿å˜ã•ã‚Œã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæƒ…å ±ã‚’å¢—ã‚„ã™ã“ã¨ãŒã§ãã¾ã™ã€‚３２ビットサãƒãƒ¼ãƒˆã¯ã€ã»ã¨ã‚“ã©å˜åœ¨ã—ãªã„ã®ã§ã€è¿‘ã„å°†æ¥ã«ã‚ãŸã£ã¦ã‚‚ã“ã®ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã‚’使ã†å¿…è¦ãŒã‚ã‚‹ã“ã¨ã¯ãªã„ã§ã—ょã†ã€‚\"float\""
+" フォーマットã¯ã€ç•°ãªã‚‹å†…部的ãªãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã§ã‚µãƒ³ãƒ—ルをä¿å˜ã™ã‚‹ã‚‚ã®ã§ã€ã¾ãšã€å¿…è¦ã¨ã™ã‚‹ã“ã¨ã¯ãªã„ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
-msgstr "ã‚‚ã—ã‚ãªãŸãŒã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’ãƒã‚¤ã‚¨ãƒ³ãƒ‰ã®è£…ç½®ã®ãŸã‚ã«ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã—ã¦ã„ã‚‹ã‹ã€ã‚ã‚‹ã„ã¯ã€ã•ã‚‰ã«å‡¦ç†ã‚’ã™ã‚‹ã¤ã‚‚ã‚Šãªã‚‰ã°ã€ï¼’４ビットフォーマットをé¸ã‚“ã§ãã ã•ã„。ãã†ã§ãªã„ã¨ãã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ª CD ã®ã‚µãƒ³ãƒ—ルフォーマットã§ã‚ã‚‹ã€ï¼‘６ビットフォーマットãŒè‰¯ã„ã§ã—ょã†ã€‚"
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
+msgstr ""
+"ã‚‚ã—ã‚ãªãŸãŒã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã‚’ãƒã‚¤ã‚¨ãƒ³ãƒ‰ã®è£…ç½®ã®ãŸã‚ã«ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã—ã¦ã„ã‚‹ã‹ã€ã‚ã‚‹ã„ã¯ã€ã•ã‚‰ã«å‡¦ç†ã‚’ã™ã‚‹ã¤ã‚‚ã‚Šãªã‚‰ã°ã€ï¼’４ビットフォーマットをé¸ã‚“ã§ãã ã•ã„。ãã†ã§ãªã„ã¨ãã¯ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ª"
+" CD ã®ã‚µãƒ³ãƒ—ルフォーマットã§ã‚ã‚‹ã€ï¼‘６ビットフォーマットãŒè‰¯ã„ã§ã—ょã†ã€‚"
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
-msgstr "\"Sample endianness\" ã¯ã€ç†è§£ãŒé›£ã—ã„概念ã§ã€çµæžœã¨ãªã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã«ã¯ä½•ã®å½±éŸ¿ã‚‚ã‚ã‚Šã¾ã›ã‚“。ä¿å˜ã®å½¢å¼ã‚’変ãˆã‚‹ã ã‘ã§ã™ã€‚ã‚‚ã—ã‚ãªãŸãŒã€æ•°å°‘ãªã„ PowerPC コンピュータをãŠä½¿ã„ã§ãªã„é™ã‚Šã€ \"Little-endian (Intel)\" オプションをé¸æŠžä¸‹ã•ã„。"
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgstr ""
+"\"Sample endianness\" "
+"ã¯ã€ç†è§£ãŒé›£ã—ã„概念ã§ã€çµæžœã¨ãªã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªã«ã¯ä½•ã®å½±éŸ¿ã‚‚ã‚ã‚Šã¾ã›ã‚“。ä¿å˜ã®å½¢å¼ã‚’変ãˆã‚‹ã ã‘ã§ã™ã€‚ã‚‚ã—ã‚ãªãŸãŒã€æ•°å°‘ãªã„ PowerPC "
+"コンピュータをãŠä½¿ã„ã§ãªã„é™ã‚Šã€ \"Little-endian (Intel)\" オプションをé¸æŠžä¸‹ã•ã„。"
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
-msgstr "高ã„サンプルレート（<xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> ã§èª¬æ˜Žã•ã‚Œã¦ã„ã¾ã™ã€‚）を使ã†ã¨ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæƒ…å ±ã‚’ã‚ˆã‚ŠãŸãã•ã‚“ä¿å˜ã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ãŒã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ã®ã‚µã‚¤ã‚ºãŒå¤§ãããªã‚Šã¾ã™ã€‚"
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
+msgstr ""
+"高ã„サンプルレート（<xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> "
+"ã§èª¬æ˜Žã•ã‚Œã¦ã„ã¾ã™ã€‚）を使ã†ã¨ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªæƒ…å ±ã‚’ã‚ˆã‚ŠãŸãã•ã‚“ä¿å˜ã™ã‚‹ã“ã¨ãŒã§ãã¾ã™ãŒã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ã®ã‚µã‚¤ã‚ºãŒå¤§ãããªã‚Šã¾ã™ã€‚"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
-msgstr "\"Convesion quality\" 㨠\"dither type\" ã¯ã€Fedora Linux ã§æä¾›ã•ã‚Œã‚‹ãƒ•ã‚¡ã‚¤ãƒ«ãƒ•ã‚©ãƒ¼ãƒžãƒƒãƒˆã§ã¯ç„¡åŠ¹ã§ã™ã€‚"
+#, no-c-format
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
-msgstr "\"CD Marker File Type\" を使ã†ã¨ã€ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã•ã‚ŒãŸãƒ•ã‚¡ã‚¤ãƒ«ã«ã€CD トラック㮠CUE- ã‚ã‚‹ã„㯠TOC- フォーマットã®ãƒªã‚¹ãƒˆã‚’書ã出ã™ã“ã¨ãŒã§ãã¾ã™ã€‚ã“ã‚Œã¯ã€ã„ãšã‚Œãƒ‡ã‚£ã‚¹ã‚¯ã«ç„¼ã‹ã‚Œã‚‹ã€CD 全体をå«ã‚€ã‚»ãƒƒã‚·ãƒ§ãƒ³å…¨ä½“をエクスãƒãƒ¼ãƒˆã™ã‚‹ã¨ãã«æœ€ã‚‚便利ã§ã™ã€‚"
-
-#~ msgid "If you do not need both clocks, you can turn one of them off."
-#~ msgstr "ï¼’ã¤ã®æ™‚計ãŒä¸è¦ãªã‚‰ã€ç‰‡æ–¹ã‚’消ã™ã“ã¨ãŒã§ãã¾ã™ã€‚"
-
-#~ msgid "The material presented for your use is a folder containing an <application>Ardour</application> file and the associated audio files required to start the tutorial. The tutorial itself comprises the following sections about editing, mixing, and mastering (or exporting). The program used to record the audio files split the left and right channels into separate files, so they are imported into <application>Ardour</application>as separate regions. Therefore, the setup is more complex than it would be if the song were originally recorded in <application>Ardour</application>, but this gives the opportunity to learn in greater detail about busses, creating and using the stereo image, and volume level adjustments."
-#~ msgstr "ã‚ãªãŸãŒä½¿ãˆã‚‹ã‚ˆã†ã«ç”¨æ„ã•ã‚ŒãŸã‚‚ã®ã¯ã€<application>Ardour</application> ファイルã¨ã€ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã‚’始ã‚ã‚‹ãŸã‚ã«å¿…è¦ãªã€é–¢é€£ã™ã‚‹ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ã®å…¥ã£ãŸãƒ•ã‚©ãƒ«ãƒ€ã§ã™ã€‚ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«è‡ªèº«ã¯ã€ç·¨é›†ã€ãƒŸã‚シングã€ãã—ã¦ãƒžã‚¹ã‚¿ãƒªãƒ³ã‚°ï¼ˆã‚ã‚‹ã„ã¯ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒ†ã‚£ãƒ³ã‚°ï¼‰ã«ã¤ã„ã¦ã®ã‚»ã‚¯ã‚·ãƒ§ãƒ³ã‹ã‚‰æ§‹æˆã•ã‚Œã¾ã™ã€‚オーディオファイルを録音ã™ã‚‹ã®ã«ä½¿ã‚ã‚ŒãŸãƒ—ãƒã‚°ãƒ©ãƒ ã¯ã€å³ã¨å·¦ã®ãƒãƒ£ãƒãƒ«ã‚’別々ã®ãƒ•ã‚¡ã‚¤ãƒ«ã«åˆ†ã‘ã¦ä¿å˜ã—ãŸã®ã§ã€<application>Ardour</application> ã«ã¯åˆ¥ã€…ã®ãƒªãƒ¼ã‚¸ãƒ§ãƒ³ã¨ã—ã¦ã‚¤ãƒ³ãƒãƒ¼ãƒˆã•ã‚Œã¾ã™ã€‚ã“ã®ãŸã‚ã€æ›²ã‚’最åˆã‹ã‚‰ <application>Ardour</application> ã§éŒ²éŸ³ã—ãŸå ´åˆã¨æ¯”ã¹ã‚‹ã¨ã€è¨å®šã¯ãšã£ã¨è¤‡é›‘ã§ã™ã€‚ã—ã‹ã—ã€ã“ã‚Œã¯ãƒã‚¹ã‚„ã€ã‚¹ãƒ†ãƒ¬ã‚ªã‚¤ãƒ¡ãƒ¼ã‚¸ã®ä½œã‚Šæ–¹ã¨ä½¿ã„æ–¹ã€ãã—ã¦ãƒœãƒªãƒ¥ãƒ¼ãƒ レベルã®èª¿æ•´ã«ã¤ã„ã¦ã‚ˆã‚Šè©³ã
—ãå¦ã¶ã‚ˆã„機会ã§ã™ã€‚"
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
+msgstr ""
+"\"CD Marker File Type\" を使ã†ã¨ã€ã‚¨ã‚¯ã‚¹ãƒãƒ¼ãƒˆã•ã‚ŒãŸãƒ•ã‚¡ã‚¤ãƒ«ã«ã€CD トラック㮠CUE- ã‚ã‚‹ã„㯠TOC- "
+"フォーマットã®ãƒªã‚¹ãƒˆã‚’書ã出ã™ã“ã¨ãŒã§ãã¾ã™ã€‚ã“ã‚Œã¯ã€ã„ãšã‚Œãƒ‡ã‚£ã‚¹ã‚¯ã«ç„¼ã‹ã‚Œã‚‹ã€CD 全体をå«ã‚€ã‚»ãƒƒã‚·ãƒ§ãƒ³å…¨ä½“をエクスãƒãƒ¼ãƒˆã™ã‚‹ã¨ãã«æœ€ã‚‚便利ã§ã™ã€‚"
-#~ msgid "The unique setup also means that none of the audio regions are in the right place on the timeline, and most of them require extensive editing. This would be bad if the objective of the tutorial were to create a finished version of the song as quickly as possible; but the objective is to learn how to use <application>Ardour</application>, and this is almost guaranteed."
-#~ msgstr "ã“ã®ç‰¹æ®ŠãªçŠ¶æ³ã¯ã€ã‚¿ã‚¤ãƒ ライン上ã®æ£ã—ã„ä½ç½®ã«ã„るオーディオリージョンã¯ã²ã¨ã¤ã‚‚ãªã„ã¨ã„ã†ã“ã¨ã‚‚æ„味ã—ã¾ã™ã€‚ã»ã¨ã‚“ã©ã¯å¤šãã®ç·¨é›†ãŒå¿…è¦ã§ã™ã€‚ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã®ç›®çš„ãŒã€æ›²ã®æœ€çµ‚版をã§ãã‚‹ã ã‘æ—©ã作æˆã™ã‚‹ã“ã¨ã§ã‚ã‚‹ãªã‚‰ã°ã“ã‚Œã¯å›°ã£ãŸã“ã¨ã§ã™ãŒã€ç›®çš„ã¯ã€<application>Ardour</application> ã®ä½¿ã„方をå¦ã¶ã“ã¨ã§ã‚ã‚Šã€ã“ã‚Œã¯å分ã«ä¿è¨¼ã•ã‚Œã¦ã„ã¾ã™ã€‚"
-#~ msgid "!!EL!! Links to the files !!I!! I don't know where to put them!"
-#~ msgstr "ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ã®ãƒ•ã‚¡ã‚¤ãƒ«ã¯ã€ Ardour ã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆãƒ•ã‚¡ã‚¤ãƒ«ã¨ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ãã®ã‚‚ã®ã§ã™ã€‚以下ã®æ‰‹é †ã§ã€ãƒãƒ¥ãƒ¼ãƒˆãƒªã‚¢ãƒ«ãƒ•ã‚¡ã‚¤ãƒ«ã‚’セットアップãã ã•ã„。１．http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma ã‹ã‚‰ã€Ardour ã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆãƒ•ã‚¡ã‚¤ãƒ«ã‚’ダウンãƒãƒ¼ãƒ‰ã—ã¾ã™ã€‚å°‘ãªãã¨ã‚‚ 1 GiB ã®ç©ºãディスク容é‡ã®ã‚るディレクトリã§è§£å‡ã—ã¾ã™ã€‚２．http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial ã«ã‚ã‚‹ã™ã¹ã¦ã®ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªãƒ•ã‚¡ã‚¤ãƒ«ã‚’ダウンãƒãƒ¼ãƒ‰ã—ã¾ã™ã€‚ãれらã®ãƒ•ã‚¡ã‚¤ãƒ«ã‚’ã€å‰ã®ã‚¹ãƒ†ãƒƒãƒ—ã§ä½œã£ãŸã€Ardour ã®ãƒ—ãƒã‚¸ã‚§ã‚¯ãƒˆãƒ•ã‚©ãƒ«ãƒ€ã®ã‚µãƒ–ディレクトリ〠Interchange/FMG-HereIsHow/audiofiles ã«ç½®ãã¾ã™ã€‚"
diff --git a/kn-IN/Ardour.po b/kn-IN/Ardour.po
index 617ff93..f8a84f0 100644
--- a/kn-IN/Ardour.po
+++ b/kn-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: kn_IN\n"
+"Plural-Forms: nplurals=1; plural=0\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/ml-IN/Ardour.po b/ml-IN/Ardour.po
index 617ff93..56e1174 100644
--- a/ml-IN/Ardour.po
+++ b/ml-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:10+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: ml_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/mr-IN/Ardour.po b/mr-IN/Ardour.po
index 617ff93..c70254b 100644
--- a/mr-IN/Ardour.po
+++ b/mr-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: mr_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/nl-NL/Ardour.po b/nl-NL/Ardour.po
index 15ab8a1..a10c9e6 100644
--- a/nl-NL/Ardour.po
+++ b/nl-NL/Ardour.po
@@ -1,18 +1,21 @@
# AUTHOR <EMAIL at ADDRESS>, YEAR.
+#
+# Translators:
+# Christopher Antila <crantila at fedoraproject.org>, 2011.
# Geert Warrink <geert.warrink at onsnet.nu>, 2011.
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-02-08 16:08+0200\n"
-"Last-Translator: Geert Warrink <geert.warrink at onsnet.nu>\n"
-"Language-Team: Fedora\n"
-"Language: nl\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 16:56+0000\n"
+"Last-Translator: crantila <crantila at fedoraproject.org>\n"
+"Language-Team: None\n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
-"Plural-Forms: nplurals=2; plural=(n != 1);\n"
-"X-Generator: Virtaal 0.6.1\n"
+"Language: nl_NL\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -21,8 +24,12 @@ msgstr "Ardour"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
-msgstr "<application>Ardour</application> is een toepassing met veel functies ontworpen voor multi-track opname situaties."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
+msgstr ""
+"<application>Ardour</application> is een toepassing met veel functies "
+"ontworpen voor multi-track opname situaties."
#. Tag: title
#, no-c-format
@@ -36,8 +43,14 @@ msgstr "Kennis vereisten"
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
-msgstr "De <application>Ardour</application> gebruikersinterface is vergelijkbaar met andere DAW's. We raden aan dat je <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> leest als je nog nooit een DAW gebruikt hebt."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
+msgstr ""
+"De <application>Ardour</application> gebruikersinterface is vergelijkbaar "
+"met andere DAW's. We raden aan dat je <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> leest als je nog nooit een DAW gebruikt hebt."
#. Tag: title
#, no-c-format
@@ -46,8 +59,19 @@ msgstr "Software vereisten"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
-msgstr "<application>Ardour</application> gebruik de <systemitem>JACK Audio Connectie Kit</systemitem>. Je moet <systemitem>JACK</systemitem> installeren voor het installeren van <application>Ardour</application>. Volg de instructies in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> om <systemitem>JACK</systemitem> te installeren."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
+msgstr ""
+"<application>Ardour</application> gebruik de <systemitem>JACK Audio "
+"Connectie Kit</systemitem>. Je moet <systemitem>JACK</systemitem> "
+"installeren voor het installeren van <application>Ardour</application>. Volg"
+" de instructies in <xref linkend=\"sect-Musicians_Guide-"
+"Install_and_Configure_JACK\" /> om <systemitem>JACK</systemitem> te "
+"installeren."
#. Tag: title
#, no-c-format
@@ -56,8 +80,22 @@ msgstr "Hardware vereisten"
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
-msgstr "Je hebt een audio interface nodig om <application>Ardour</application> te gebruiken. Als je audio wilt opnemen met <application>Ardour</application>, moet je ten minste één microfoon op jouw audio interface aangesloten hebben. Je hebt geen microfoon nodig voor het opnemen van audiosignalen van andere <systemitem>JACK</systemitem>-bewuste programma's zoals <application>FluidSynth</application> en <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
+msgstr ""
+"Je hebt een audio interface nodig om <application>Ardour</application> te "
+"gebruiken. Als je audio wilt opnemen met <application>Ardour</application>, "
+"moet je ten minste één microfoon op jouw audio interface aangesloten hebben."
+" Je hebt geen microfoon nodig voor het opnemen van audiosignalen van andere "
+"<systemitem>JACK</systemitem>-bewuste programma's zoals "
+"<application>FluidSynth</application> en "
+"<application>SuperCollider</application>."
#. Tag: title
#, no-c-format
@@ -66,8 +104,16 @@ msgstr "Installatie"
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
-msgstr "Gebruik <application>PackageKit</application> of <application>KPackageKit</application> om het <package>ardour</package> pakket te installeren. Andere vereiste software wordt automatisch geïnstalleerd."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
+msgstr ""
+"Gebruik <application>PackageKit</application> of "
+"<application>KPackageKit</application> om het <package>ardour</package> "
+"pakket te installeren. Andere vereiste software wordt automatisch "
+"geïnstalleerd."
#. Tag: title
#, no-c-format
@@ -76,8 +122,18 @@ msgstr "Een sessie opnemen"
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
-msgstr "Het opnemen van een sessie gebeurt meestal alles in één keer, maar soms kan het opnemen kan meerdere dagen of zelfs weken duren. Mixen en masteren gebeuren nadat een sessie is opgenomen. Denk eraan dat <systemitem>JACK</systemitem> iedere keer als je een sessie opent dezelfde monsterfrequentie en monsterformaat moet hebben."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
+msgstr ""
+"Het opnemen van een sessie gebeurt meestal alles in één keer, maar soms kan "
+"het opnemen kan meerdere dagen of zelfs weken duren. Mixen en masteren "
+"gebeuren nadat een sessie is opgenomen. Denk eraan dat "
+"<systemitem>JACK</systemitem> iedere keer als je een sessie opent dezelfde "
+"monsterfrequentie en monsterformaat moet hebben."
#. Tag: title
#, no-c-format
@@ -86,13 +142,32 @@ msgstr "<application>Ardour</application> draaien"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
-msgstr "<application>Ardour</application> gebruikt de <systemitem>JACK</systemitem> geluidsserver. Gebruik <application>QjackCtl</application> om <systemitem>JACK</systemitem> te starten voordat je <application>Ardour</application> start, anders zal <application>Ardour</application> <systemitem>JACK</systemitem> voor jou starten."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
+msgstr ""
+"<application>Ardour</application> gebruikt de <systemitem>JACK</systemitem> "
+"geluidsserver. Gebruik <application>QjackCtl</application> om "
+"<systemitem>JACK</systemitem> te starten voordat je "
+"<application>Ardour</application> start, anders zal "
+"<application>Ardour</application> <systemitem>JACK</systemitem> voor jou "
+"starten."
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
-msgstr "<application>Ardour</application> vraagt je om een locatie voor het opslaan van jouw nieuwe sessie te kiezen. <application>Ardour</application> maakt automatisch een map aan voor het opslaan van de sessie bestanden. Je kunt ook een bestaande sessie openen."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
+msgstr ""
+"<application>Ardour</application> vraagt je om een locatie voor het opslaan "
+"van jouw nieuwe sessie te kiezen. <application>Ardour</application> maakt "
+"automatisch een map aan voor het opslaan van de sessie bestanden. Je kunt "
+"ook een bestaande sessie openen."
#. Tag: title
#, no-c-format
@@ -101,8 +176,16 @@ msgstr "De interface"
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
-msgstr "Deze paragraaf legt enkele onderdelen van de grafische interface uit die uniek zijn voor <application>Ardour</application>. Onderdelen die door de meeste DAW's gebruikt worden zijn uitgelegd in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
+msgstr ""
+"Deze paragraaf legt enkele onderdelen van de grafische interface uit die "
+"uniek zijn voor <application>Ardour</application>. Onderdelen die door de "
+"meeste DAW's gebruikt worden zijn uitgelegd in <xref linkend=\"sect-"
+"Musicians_Guide-DAW_Interface_Vocabulary\" />."
#. Tag: title
#, no-c-format
@@ -112,7 +195,8 @@ msgstr "De Ardour interface"
#. Tag: para
#, no-c-format
msgid "Three graphical interface components specific to the Ardour interface."
-msgstr "Drie grafische interface onderdelen specifiek voor de Ardour interface."
+msgstr ""
+"Drie grafische interface onderdelen specifiek voor de Ardour interface."
#. Tag: para
#, no-c-format
@@ -131,8 +215,16 @@ msgstr "De hoofd werkbalk"
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
-msgstr "<xref linkend=\"ardour_interface_overview\" /> laat drie grafische interface onderdelen zien die specifiek zijn voor de Ardour interface: de <firstterm>editor mixer</firstterm>, de <firstterm>sessie zijbalk</firstterm> en de hoofd werkbalk."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
+msgstr ""
+"<xref linkend=\"ardour_interface_overview\" /> laat drie grafische interface"
+" onderdelen zien die specifiek zijn voor de Ardour interface: de "
+"<firstterm>editor mixer</firstterm>, de <firstterm>sessie "
+"zijbalk</firstterm> en de hoofd werkbalk."
#. Tag: title
#, no-c-format
@@ -171,8 +263,20 @@ msgstr "De output verbindingsknop"
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
-msgstr "<xref linkend=\"ardour_interface_editor_mixer\" /> laat de editor mixer zien, links van het hoofd <application>Ardour</application> venster. De editor mixer geeft slechts een mixer strip tegelijk weer. Het laat de fader en zijn besturing zien in het midden van de mixer strip, de panner en zijn besturing onder in de mixer strip, en de <guibutton>Comments</guibutton> en uitgaande verbindingsknoppen."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
+msgstr ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> laat de editor mixer "
+"zien, links van het hoofd <application>Ardour</application> venster. De "
+"editor mixer geeft slechts een mixer strip tegelijk weer. Het laat de fader "
+"en zijn besturing zien in het midden van de mixer strip, de panner en zijn "
+"besturing onder in de mixer strip, en de <guibutton>Comments</guibutton> en "
+"uitgaande verbindingsknoppen."
#. Tag: title
#, no-c-format
@@ -196,8 +300,24 @@ msgstr "De regio lijst"
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
-msgstr "<xref linkend=\"ardour_interface_session_sidebar\" /> laat de sessie zijbalk zien, welke rechts van het hoofd <application>Ardour</application> venster ligt. In deze afbeelding is de <guilabel>Regions</guilabel> tab geselecteerd, dus de zijbalk toont een lijst van regio's die op dit moment in de sessie zijn. Je kunt de blauwe zien die rechtstreeks geïmporteerd werden, de witte die aangemaakt zijn van blauwe regio's, en de pijlen links van enkele regio's die aangeven dat er wit gekleurde regio's geassocieerd zijn met bie blauwe regio's"
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
+msgstr ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> laat de sessie zijbalk"
+" zien, welke rechts van het hoofd <application>Ardour</application> venster "
+"ligt. In deze afbeelding is de <guilabel>Regions</guilabel> tab "
+"geselecteerd, dus de zijbalk toont een lijst van regio's die op dit moment "
+"in de sessie zijn. Je kunt de blauwe zien die rechtstreeks geïmporteerd "
+"werden, de witte die aangemaakt zijn van blauwe regio's, en de pijlen links "
+"van enkele regio's die aangeven dat er wit gekleurde regio's geassocieerd "
+"zijn met bie blauwe regio's"
#. Tag: title
#, no-c-format
@@ -241,8 +361,26 @@ msgstr "Het edit punt"
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
-msgstr "<xref linkend=\"ardour_interface_toolbar\" /> laat de hoofd werkbalk zien onder de transport knoppen en boven de tijdlijn en zijn linialen. In het midden van de werkbalk zijn drie niet-gelabelde, maar zeer nuttige multiple-choice menu's: het <guimenu>snap mode</guimenu> menu (op dit moment ingesteld op <literal>No Grid</literal>); het <guimenu>grid mode</guimenu> menu (op dit moment ingesteld op <literal>Bars</literal>); en het <guimenu>edit punt</guimenu> menu (op dit moment ingesteld op <literal>Mouse</literal>)."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgstr ""
+"<xref linkend=\"ardour_interface_toolbar\" /> laat de hoofd werkbalk zien "
+"onder de transport knoppen en boven de tijdlijn en zijn linialen. In het "
+"midden van de werkbalk zijn drie niet-gelabelde, maar zeer nuttige multiple-"
+"choice menu's: het <guimenu>snap mode</guimenu> menu (op dit moment "
+"ingesteld op <literal>No Grid</literal>); het <guimenu>grid mode</guimenu> "
+"menu (op dit moment ingesteld op <literal>Bars</literal>); en het "
+"<guimenu>edit punt</guimenu> menu (op dit moment ingesteld op "
+"<literal>Mouse</literal>)."
#. Tag: title
#, no-c-format
@@ -250,39 +388,65 @@ msgid "Setting up the Timeline"
msgstr "De tijdlijn instellen"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
-msgstr "Bovenin het hoofd <application>Ardour</application> venster, rechts van de transport knoppen, bevinden zich twee relatief grote klokken. Klik rechts op de klokken om te kiezen wat ze moeten tonen:"
+#, no-c-format
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
-msgstr "<guimenuitem>Bars:Beats</guimenuitem> laat het aantal bars en beats zien"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgstr ""
+"<guimenuitem>Bars:Beats</guimenuitem> laat het aantal bars en beats zien"
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
-msgstr "<guimenuitem>Minutes:Seconds</guimenuitem> laat de tijd zien sinds het begin van de track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
+msgstr ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> laat de tijd zien sinds het begin"
+" van de track"
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
-msgstr "<guimenuitem>Timecode</guimenuitem> laat de frames-per-seconde tijdcode zien (gewoonlijk voor werk met films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
+msgstr ""
+"<guimenuitem>Timecode</guimenuitem> laat de frames-per-seconde tijdcode zien"
+" (gewoonlijk voor werk met films)"
#. Tag: para
#, no-c-format
msgid "<guimenuitem>Samples</guimenuitem> displays the samples since start"
-msgstr "<guimenuitem>Samples</guimenuitem> laat het aantal samples sind de start zien"
+msgstr ""
+"<guimenuitem>Samples</guimenuitem> laat het aantal samples sind de start "
+"zien"
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
-msgstr "Het <guimenu>snap mode</guimenu> menu bevindt zich tussen de tijdlijn en de klokken. Dit menu controleert waar regio's naar verplaatst kunnen worden. Je moet deze veranderen als je in een sessie aan het werk bent afhankelijk van de activiteit op dat moment. Het linker menu bevat:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
+msgstr ""
+"Het <guimenu>snap mode</guimenu> menu bevindt zich tussen de tijdlijn en de "
+"klokken. Dit menu controleert waar regio's naar verplaatst kunnen worden. Je"
+" moet deze veranderen als je in een sessie aan het werk bent afhankelijk van"
+" de activiteit op dat moment. Het linker menu bevat:"
#. Tag: para
#, no-c-format
@@ -291,38 +455,63 @@ msgstr "<guimenuitem>No Grid</guimenuitem>: regio's kunnen zich vrij bewegen"
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
-msgstr "<guimenuitem>Grid</guimenuitem>: regio's moeten beginnen op het dichtstbijzijnde grid punt"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
+msgstr ""
+"<guimenuitem>Grid</guimenuitem>: regio's moeten beginnen op het "
+"dichtstbijzijnde grid punt"
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
-msgstr "<guimenuitem>Magnetic</guimenuitem> regio's kunnen vrij bewegen, maar als ze in de buurt van een grid punt komen worden ze er automatisch mee uitgelijnd."
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
+msgstr ""
+"<guimenuitem>Magnetic</guimenuitem> regio's kunnen vrij bewegen, maar als ze"
+" in de buurt van een grid punt komen worden ze er automatisch mee "
+"uitgelijnd."
#. Tag: para
-#, fuzzy, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
-msgstr "Het middelste menu controleert waar de grid lijnen geplaatst worden; volgens tijdcode, volgens tijd, volgens beats en bars of volgens regio's."
+#, no-c-format
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
+msgstr ""
#. Tag: title
-#, fuzzy, no-c-format
+#, no-c-format
msgid "The Ardour nudge pane"
-msgstr "De Ardour interface"
+msgstr ""
#. Tag: para
-#, fuzzy, no-c-format
+#, no-c-format
msgid "The Ardour nudge pane."
-msgstr "Het Ardour editor mixer paneel."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
-#, fuzzy, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
-msgstr "De tijdlijn (welke vele <firstterm>linialen</firstterm> bevat die verschillende tijd-markering schalen tonen) is gelegen op de top van de canvas ruimte, onder de werkbalken. Gebruik het rechts klik menu voor het selecteren van welke linialen je weer wilt geven. De linialen die jeu moet kiezen is afhankelijk van de klokinstellingen en de snap mode."
+#, no-c-format
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
+msgstr ""
#. Tag: title
#, no-c-format
@@ -331,8 +520,12 @@ msgstr "Audio bronnen aansluiten op <application>Ardour</application>"
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
-msgstr "De naam van de track die je wilt opnemen, moet de naam van de input in <systemitem>JACK</systemitem> zijn."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
+msgstr ""
+"De naam van de track die je wilt opnemen, moet de naam van de input in "
+"<systemitem>JACK</systemitem> zijn."
#. Tag: title
#, no-c-format
@@ -341,8 +534,19 @@ msgstr "De bussen en tracks instellen"
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
-msgstr "Refereer naar <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> voor een algemene discussie over bussen. Alles wat je exporteert uit <application>Ardour</application> wordt standaard naar een master bus gestuurd. Bussen bevatten geen regio's maar werken als een batch verzamel zone, waar je het gehele project kunt onderwerpen aan een bepaald filter of volume aanpassing."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
+msgstr ""
+"Refereer naar <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> voor "
+"een algemene discussie over bussen. Alles wat je exporteert uit "
+"<application>Ardour</application> wordt standaard naar een master bus "
+"gestuurd. Bussen bevatten geen regio's maar werken als een batch verzamel "
+"zone, waar je het gehele project kunt onderwerpen aan een bepaald filter of "
+"volume aanpassing."
#. Tag: title
#, no-c-format
@@ -351,8 +555,12 @@ msgstr "Een track voor opname toevoegen"
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
-msgstr "Klik op <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
+msgstr ""
+"Klik op <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
#. Tag: para
#, no-c-format
@@ -366,8 +574,12 @@ msgstr "stel het nummer in (waarschijnlijk <literal>1</literal>)"
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
-msgstr "selecteer het aantal ingangskanalen (waarschijnlijk <literal>Stereo</literal>, wat 2 betekent)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
+msgstr ""
+"selecteer het aantal ingangskanalen (waarschijnlijk "
+"<literal>Stereo</literal>, wat 2 betekent)"
#. Tag: para
#, no-c-format
@@ -376,13 +588,18 @@ msgstr "selecteer de mode:"
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr "<literal>Normal</literal>: creëert een nieuwe regio voor elke opname"
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
-msgstr "<literal>Tape</literal>: neemt destructief op over wat al opgenomen is (zoals een tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
+msgstr ""
+"<literal>Tape</literal>: neemt destructief op over wat al opgenomen is "
+"(zoals een tape)"
#. Tag: para
#, no-c-format
@@ -396,8 +613,11 @@ msgstr "Wijzig de track namen, om ze te identificeren"
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
-msgstr "Klik op de bestaande track naam in het label helemaal links in het track gebied"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
+msgstr ""
+"Klik op de bestaande track naam in het label helemaal links in het track "
+"gebied"
#. Tag: para
#, no-c-format
@@ -416,23 +636,58 @@ msgstr "Opname niveau (Volume) aanpassen"
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
-msgstr "Het is belangrijk om het niveau van de ingangen goed in te stellen voor het opnemen."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
+msgstr ""
+"Het is belangrijk om het niveau van de ingangen goed in te stellen voor het "
+"opnemen."
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
-msgstr "De aard van audioapparatuur is zodanig dat het alleen geluidsdruk weer kan nemen (opgevat als volume) binnen een bepaald bereik. Als een geluid te zacht is, zal het niet opgemerkt worden, en als het te luid is, zal het niet nauwkeurig opgemerkt worden. Bovendien, en dit is zeer belangrijk als je aan je eigen oren denkt — als een geluid veel te hard is, kan het het audio instrument permanent beschadigen."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
+msgstr ""
+"De aard van audioapparatuur is zodanig dat het alleen geluidsdruk weer kan "
+"nemen (opgevat als volume) binnen een bepaald bereik. Als een geluid te "
+"zacht is, zal het niet opgemerkt worden, en als het te luid is, zal het niet"
+" nauwkeurig opgemerkt worden. Bovendien, en dit is zeer belangrijk als je "
+"aan je eigen oren denkt — als een geluid veel te hard is, kan het het audio "
+"instrument permanent beschadigen."
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
-msgstr "De aard van digitale audio is zodanig dat er een bepaald aantal volume niveaus zijn waarop iets opgenomen kan worden. Als een geluid onder of boven dat bereik is, dan zal het niet correct opgenomen worden. Als zo'n onjuist opgenomen geluid afgespeeld wordt, te zacht of te luid, zullen mensen meestal \"alleen maar ruis\" horen. "
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
+msgstr ""
+"De aard van digitale audio is zodanig dat er een bepaald aantal volume "
+"niveaus zijn waarop iets opgenomen kan worden. Als een geluid onder of boven"
+" dat bereik is, dan zal het niet correct opgenomen worden. Als zo'n onjuist "
+"opgenomen geluid afgespeeld wordt, te zacht of te luid, zullen mensen "
+"meestal \"alleen maar ruis\" horen. "
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
-msgstr "Als <application>Ardour</application> stilte opneemt, werkt het niet anders dan wanneer er helemaal geen input is. Als <application>Ardour</application> berekent dat een gedeelte van de audio te luid en dus vervormd is, schetst het de golfvorm representatie in het rood, zoals weergegeven in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgstr ""
+"Als <application>Ardour</application> stilte opneemt, werkt het niet anders "
+"dan wanneer er helemaal geen input is. Als <application>Ardour</application>"
+" berekent dat een gedeelte van de audio te luid en dus vervormd is, schetst "
+"het de golfvorm representatie in het rood, zoals weergegeven in <xref "
+"linkend=\"ardour_red_peaks\" />."
#. Tag: title
#, no-c-format
@@ -442,27 +697,39 @@ msgstr "Audio dat te luid is"
#. Tag: para
#, no-c-format
msgid "A waveform in Ardour, showing red peaks where the audio is too loud."
-msgstr "Een golfvorm in Ardour, weergeven van rode pieken waar de audio te luid is."
+msgstr ""
+"Een golfvorm in Ardour, weergeven van rode pieken waar de audio te luid is."
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
-msgstr "Er zijn drie eenvoudige strategieën die gebruikt kunnen worden om het input niveau van een audio signaal wijzigen:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
+msgstr ""
+"Er zijn drie eenvoudige strategieën die gebruikt kunnen worden om het input "
+"niveau van een audio signaal wijzigen:"
#. Tag: para
#, no-c-format
msgid "Move the microphone closer or farther from the source"
-msgstr "Verplaats de microfoon dichter bij of verder weg van de bron verplaatsen"
+msgstr ""
+"Verplaats de microfoon dichter bij of verder weg van de bron verplaatsen"
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
-msgstr "Leid de microfoon om via een mixer voordat het de audio interface bereikt"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
+msgstr ""
+"Leid de microfoon om via een mixer voordat het de audio interface bereikt"
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
-msgstr "Leid de audio om via een bus in <application>Ardour</application> voordat het opgenomen wordt"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
+msgstr ""
+"Leid de audio om via een bus in <application>Ardour</application> voordat "
+"het opgenomen wordt"
#. Tag: para
#, no-c-format
@@ -471,13 +738,26 @@ msgstr "Hier zijn de voordelen en nadelen van elke benadering:"
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
-msgstr "Er zijn bepaalde omstandigheden waar het onpraktisch, onmogelijk, of niet aan te raden is om de microfoon te verplaatsen of om te leiden via een hardware mixer. In deze gevallen kun je een bus in <application>Ardour</application> gebruiken om van het volume van het ingangssignaal aan te passen voordat het opgenomen wordt."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
+msgstr ""
+"Er zijn bepaalde omstandigheden waar het onpraktisch, onmogelijk, of niet "
+"aan te raden is om de microfoon te verplaatsen of om te leiden via een "
+"hardware mixer. In deze gevallen kun je een bus in "
+"<application>Ardour</application> gebruiken om van het volume van het "
+"ingangssignaal aan te passen voordat het opgenomen wordt."
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
-msgstr "Kies <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
+msgstr ""
+"Kies <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
#. Tag: para
#, no-c-format
@@ -486,8 +766,14 @@ msgstr "Selecteer \"Bussen\" in het venster dat verschijnt."
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
-msgstr "Kies het aantal bussen dat je wilt toevoegen. Je hebt een nodig voor elke track die je aan het opnemen bent en waarvoor je het volume wilt aanpassen. Het is ook mogelijk om op verscheidene verschillende volumes op te nemen."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
+msgstr ""
+"Kies het aantal bussen dat je wilt toevoegen. Je hebt een nodig voor elke "
+"track die je aan het opnemen bent en waarvoor je het volume wilt aanpassen. "
+"Het is ook mogelijk om op verscheidene verschillende volumes op te nemen."
#. Tag: para
#, no-c-format
@@ -496,28 +782,57 @@ msgstr "Stel aantal kanalen in de bus in. "
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
-msgstr "Zodra je de nieuwe bus hebt, verander je de naam in iets anders. Ik stel voor het een naam te geven wat duidelijk maakt dat je de bus voor de opname gebruikt, in plaats van voor het exporteren, zoals \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
+msgstr ""
+"Zodra je de nieuwe bus hebt, verander je de naam in iets anders. Ik stel "
+"voor het een naam te geven wat duidelijk maakt dat je de bus voor de opname "
+"gebruikt, in plaats van voor het exporteren, zoals \"REC-Bus.\""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
-msgstr "<application>Ardour</application> stelt bussen automatisch in voor gebruik met audio output. Bovendien werkt de volume/niveau besturing alleen op audio output van een track of bus. Dit is waarom je de volume/niveau besturing van de track niet kunt gebruiken om het input volume voor die track aan te passen."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
+msgstr ""
+"<application>Ardour</application> stelt bussen automatisch in voor gebruik "
+"met audio output. Bovendien werkt de volume/niveau besturing alleen op audio"
+" output van een track of bus. Dit is waarom je de volume/niveau besturing "
+"van de track niet kunt gebruiken om het input volume voor die track aan te "
+"passen."
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
-msgstr "Gebruik <application>QjackCtl</application> om dit zo opnieuw aan te sluiten (voor hulp, refereer je naar <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
+msgstr ""
+"Gebruik <application>QjackCtl</application> om dit zo opnieuw aan te sluiten"
+" (voor hulp, refereer je naar <xref linkend=\"sect-Musicians_Guide-Ardour-"
+"Recording-Routing_Audio\" />):"
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
-msgstr "Verbreek alle verbindingen naar/van de bus die je wilt gebruiken voor het opnemen (\"opname bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
+msgstr ""
+"Verbreek alle verbindingen naar/van de bus die je wilt gebruiken voor het "
+"opnemen (\"opname bus\")."
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
-msgstr "Controleer of er niets is aangesloten op de input van de track waarop je wilt opnemen (\"opname track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
+msgstr ""
+"Controleer of er niets is aangesloten op de input van de track waarop je "
+"wilt opnemen (\"opname track\")."
#. Tag: para
#, no-c-format
@@ -531,18 +846,38 @@ msgstr "Sluit de output van de input bus aan op de input van de opname track."
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
-msgstr "Controleer of de output van de opname track aangesloten is op de \"master\" input (dit is de master output bus, welke in alle projecten aanwezig moet zijn en via welke alle output audio omgeleid moet worden). "
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
+msgstr ""
+"Controleer of de output van de opname track aangesloten is op de \"master\" "
+"input (dit is de master output bus, welke in alle projecten aanwezig moet "
+"zijn en via welke alle output audio omgeleid moet worden). "
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
-msgstr "Denk eraan: slechts één op-te-nemen-track kan gerouteerd worden via een bus voor dit doel, omdat een bus slechts één audio stroom kan uitgeven."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
+msgstr ""
+"Denk eraan: slechts één op-te-nemen-track kan gerouteerd worden via een bus "
+"voor dit doel, omdat een bus slechts één audio stroom kan uitgeven."
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
-msgstr "Hier volgt een algoritme om te testen of jouw tracks op een goede opname volume ingesteld zijn. Dit moet gebeuren voor het voorbereiden van tracks voor opname. Je kunt echter nooit weten dat je het beste input niveau hebt gekozen totdat een regio opgenomen is. Het vergt zowel instinct als ervaring om goede input niveaus op een betrouwbare manier te kunnen kiezen."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
+msgstr ""
+"Hier volgt een algoritme om te testen of jouw tracks op een goede opname "
+"volume ingesteld zijn. Dit moet gebeuren voor het voorbereiden van tracks "
+"voor opname. Je kunt echter nooit weten dat je het beste input niveau hebt "
+"gekozen totdat een regio opgenomen is. Het vergt zowel instinct als ervaring"
+" om goede input niveaus op een betrouwbare manier te kunnen kiezen."
#. Tag: para
#, no-c-format
@@ -561,28 +896,70 @@ msgstr "Stel opname bussen in zoals vereist (zie hierboven)."
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
-msgstr "Stel het \"meet punt\" op de op te nemen audio tracks in op \"input\" (hier volgt hoe je dat doet)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
+msgstr ""
+"Stel het \"meet punt\" op de op te nemen audio tracks in op \"input\" (hier "
+"volgt hoe je dat doet)."
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
-msgstr "Vraag de uitvoerenden om de luidste passages te demonstreren die ze in de sessie zullen uitvoeren. Pas het input niveau aan zodat het maximum niveau ligt tussen -3 dB en -6 dB valt (door hier te kijken). Je kunt de maximum-level-seer resetten door erop te klikken."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
+msgstr ""
+"Vraag de uitvoerenden om de luidste passages te demonstreren die ze in de "
+"sessie zullen uitvoeren. Pas het input niveau aan zodat het maximum niveau "
+"ligt tussen -3 dB en -6 dB valt (door hier te kijken). Je kunt de "
+"maximum-level-seer resetten door erop te klikken."
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
-msgstr "Vraag de uitvoerenden om de stilste passages te demonstreren die ze in de sessie zullen uitvoeren. Pas het invoer niveau aan zodat het niet lager is dan -40 dB; het moet waarschijnlijk tussen -30 dB en -20 dB liggen."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
+msgstr ""
+"Vraag de uitvoerenden om de stilste passages te demonstreren die ze in de "
+"sessie zullen uitvoeren. Pas het invoer niveau aan zodat het niet lager is "
+"dan -40 dB; het moet waarschijnlijk tussen -30 dB en -20 dB "
+"liggen."
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
-msgstr "Vraag de uitvoerenden om een gemiddelde passage te demonstreren die ze in de sessie zullen presteren. Dit is meestal minder belangrijk dan de vorige twee controles, maar als het meeste van de uitvoering stiller zal zijn, kan het de moeite waard zijn om een hoger input niveau te riskeren om meer detail op te vangen. Niettemin moet een \"gematigde\" volume niveau resulteren in een input niveau tussen -20 dB en -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
+msgstr ""
+"Vraag de uitvoerenden om een gemiddelde passage te demonstreren die ze in de"
+" sessie zullen presteren. Dit is meestal minder belangrijk dan de vorige "
+"twee controles, maar als het meeste van de uitvoering stiller zal zijn, kan "
+"het de moeite waard zijn om een hoger input niveau te riskeren om meer "
+"detail op te vangen. Niettemin moet een \"gematigde\" volume niveau "
+"resulteren in een input niveau tussen -20 dB en -10 dB."
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
-msgstr "Wanneer je meer ervaring hebt met zowel de aard van de groep die je wilt opnemen en de software en de apparatuur die gebruikt wordt om dit te doen, hoef je deze niveau-controles waarschijnlijk niet elke keer uit te voeren. Het is echter beter om veilig te zitten dan om sorry te moeten zeggen, want zodra een muzikale moment voorbij is, is het onmogelijk om het opnieuw te creëren."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
+msgstr ""
+"Wanneer je meer ervaring hebt met zowel de aard van de groep die je wilt "
+"opnemen en de software en de apparatuur die gebruikt wordt om dit te doen, "
+"hoef je deze niveau-controles waarschijnlijk niet elke keer uit te voeren. "
+"Het is echter beter om veilig te zitten dan om sorry te moeten zeggen, want "
+"zodra een muzikale moment voorbij is, is het onmogelijk om het opnieuw te "
+"creëren."
#. Tag: title
#, no-c-format
@@ -591,18 +968,29 @@ msgstr "Een regio opnemen"
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
-msgstr "Als je een sessie opneemt, zul je ten minste één regio maken. Waarschuwing over het feit dat audio standaard uitgevoerd zal worden via de \"auditie\" output (gebruik hoofdtelefoon)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
+msgstr ""
+"Als je een sessie opneemt, zul je ten minste één regio maken. Waarschuwing "
+"over het feit dat audio standaard uitgevoerd zal worden via de \"auditie\" "
+"output (gebruik hoofdtelefoon)"
#. Tag: para
#, no-c-format
msgid "Ensure that the inputs, timeline, and tracks are properly set up."
-msgstr "Zorg ervoor dat de ingangen, tijdlijn en tracks correct ingesteld zijn."
+msgstr ""
+"Zorg ervoor dat de ingangen, tijdlijn en tracks correct ingesteld zijn."
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
-msgstr "Als links van het editor venster niets te zien is, druk je op Ctrl+E of 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
+msgstr ""
+"Als links van het editor venster niets te zien is, druk je op Ctrl+E of "
+"'View > Show Editor Mixer'"
#. Tag: para
#, no-c-format
@@ -611,8 +999,14 @@ msgstr "Selecteer de track die wilt opnemen"
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
-msgstr "Stel het de meet punt in op \"input\" en controleer of het correct werkt en aangesloten is op het juiste ding (zeggen wat dit doet en waarom je het nu wilt doen)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
+msgstr ""
+"Stel het de meet punt in op \"input\" en controleer of het correct werkt en "
+"aangesloten is op het juiste ding (zeggen wat dit doet en waarom je het nu "
+"wilt doen)"
#. Tag: para
#, no-c-format
@@ -621,18 +1015,27 @@ msgstr "Zie \"Aanpassen opname volume\" hieronder, en doe het nu"
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
-msgstr "Voorbereiden van de track voor opname: druk op \"Record\" links in de mixer van de track of druk op de kleine rode opname knop in de track zelf"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
+msgstr ""
+"Voorbereiden van de track voor opname: druk op \"Record\" links in de mixer "
+"van de track of druk op de kleine rode opname knop in de track zelf"
#. Tag: para
#, no-c-format
msgid "the buttons will remain lighted to show that the tracks are armed"
-msgstr "De knoppen blijven verlicht om te laten zien dat de tracks zijn voorbereid"
+msgstr ""
+"De knoppen blijven verlicht om te laten zien dat de tracks zijn voorbereid"
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
-msgstr "Bereid <application>Ardour</application> voor voor opname door het selecteren van de grote rode opname knop op het transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
+msgstr ""
+"Bereid <application>Ardour</application> voor voor opname door het "
+"selecteren van de grote rode opname knop op het transport"
#. Tag: para
#, no-c-format
@@ -641,28 +1044,51 @@ msgstr "Start het transport op de normale manier (grote afspeel knop)"
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
-msgstr "Als je klaar bent met opnemen, stop je het transport met de grote stop knop"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
+msgstr ""
+"Als je klaar bent met opnemen, stop je het transport met de grote stop knop"
#. Tag: para
#, no-c-format
msgid "each time you start and stop the transport, a new \"region\" is produced"
-msgstr "Iedere keer als je het transport start en stopt, wordt een nieuwe \"regio\" geproduceerd"
+msgstr ""
+"Iedere keer als je het transport start en stopt, wordt een nieuwe \"regio\" "
+"geproduceerd"
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
-msgstr "Iedere keer als je het transport stopt, zal <application>Ardour</application> voor zichzelf de opname voorbereiding beëindigen, maar de nummers die je geselecteerd hebt zijn nog steeds voorbereid"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
+msgstr ""
+"Iedere keer als je het transport stopt, zal "
+"<application>Ardour</application> voor zichzelf de opname voorbereiding "
+"beëindigen, maar de nummers die je geselecteerd hebt zijn nog steeds "
+"voorbereid"
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
-msgstr "Als je klaar bent met het opnemen van een regio, gebruik je het \"Regions\" vak aan de rechterkant van de interface om de naam van de regio te wijzigen:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
+msgstr ""
+"Als je klaar bent met het opnemen van een regio, gebruik je het \"Regions\""
+" vak aan de rechterkant van de interface om de naam van de regio te "
+"wijzigen:"
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
-msgstr "Zoek de regio die je net opgenomen hebt (standaard hebben ze een naam als \"Audio 1-1\" wat de naam is van de opname track gevolgd door een afbreek streepje en daarna een getal in oplopende volgorde om de \"take\" weer te geven). Selecteer het."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
+msgstr ""
+"Zoek de regio die je net opgenomen hebt (standaard hebben ze een naam als "
+"\"Audio 1-1\" wat de naam is van de opname track gevolgd door een afbreek "
+"streepje en daarna een getal in oplopende volgorde om de \"take\" weer te "
+"geven). Selecteer het."
#. Tag: para
#, no-c-format
@@ -686,8 +1112,14 @@ msgstr "Meer opnemen"
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
-msgstr "Als je een regio opgenomen hebt, zul waarschijnlijk nog niet alees hebben wat je wilt. Er zijn vele manieren om verder te gaan met opnemen, afhankelijk van wat nog opgenomen moet worden."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
+msgstr ""
+"Als je een regio opgenomen hebt, zul waarschijnlijk nog niet alees hebben "
+"wat je wilt. Er zijn vele manieren om verder te gaan met opnemen, "
+"afhankelijk van wat nog opgenomen moet worden."
#. Tag: title
#, no-c-format
@@ -696,18 +1128,33 @@ msgstr "Verdergaan met dezelfde sessie"
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
-msgstr "Dit is wat je bijvoorbeeld wilt doen als je een sessie aan het opnemen bent en je besluit om een tien minuten pauze te nemen. Het zal voor elke situatie werken waar je een sessie wilt vervolgen die reeds gestart is met opnemen."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
+msgstr ""
+"Dit is wat je bijvoorbeeld wilt doen als je een sessie aan het opnemen bent "
+"en je besluit om een tien minuten pauze te nemen. Het zal voor elke situatie"
+" werken waar je een sessie wilt vervolgen die reeds gestart is met opnemen."
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
-msgstr "Verplaats het transport naar een plek die je al vastgelegd hebt. Je kunt dit doen met gebruik van de vooruit/achteruit en afspelen/stoppen knoppen op het transport of door het zoeken naar het punt in de tijdlijn waar je het transport wilt hebben en vervolgens ergens links te klikken in de tijdlijn."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
+msgstr ""
+"Verplaats het transport naar een plek die je al vastgelegd hebt. Je kunt dit"
+" doen met gebruik van de vooruit/achteruit en afspelen/stoppen knoppen op "
+"het transport of door het zoeken naar het punt in de tijdlijn waar je het "
+"transport wilt hebben en vervolgens ergens links te klikken in de tijdlijn."
#. Tag: para
#, no-c-format
msgid "Verify that the connections and levels are still set correctly."
-msgstr "Controleer of de aansluitingen en niveaus nog steeds correct ingesteld zijn."
+msgstr ""
+"Controleer of de aansluitingen en niveaus nog steeds correct ingesteld zijn."
#. Tag: para
#, no-c-format
@@ -731,13 +1178,59 @@ msgstr "Een extra deel vastleggen van iets dat al opgenomen is"
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
-msgstr "Een techniek die vaak gebruikt wordt voor studio opnames is het afzonderlijk opnemen van delen die normaal gesproken samengespeeld zouden worden, en wat later weer samengevoegd gaat worden (zie de paragraaf \"Een sessie voorbereiden\" hieronder). Bijvoorbeeld, overweeg een opname waar een trompettist beide delen van een solo geschreven voor twee trompetten wil opnemen. Het orkest kan naar de studio gebracht worden kan het hele solo stuk spelen zonder trompet solo. <application>Ardour</application> zal dit in een track opnemen. Daarna gaat de trompet-solist naar de studio en gebruikt <application>Ardour</application> voor het tegelijkertijd luisteren naar de eerder opgenomen orkest track met het spelen van een van de trompet solo delen, welke in een andere track opgenomen wordt. De volgende dag keert de trompettist terug naar de studio en gebruikt <application>Ardour</application> om te luisteren naar de eerder opgenomen orkest track en het eerder opgenomen trompet so
lo deel terwijl hij het andere trompet solo deel speelt, welke opgenomen wordt op een derde track. De opname ingenieur gebruik de mix en edit functies van Audacity om het geluid te laten klinken alsof de trompettist beide solo onderdelen tegelijkertijd speelde, terwijl het orkest daar aanwezig was."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
+msgstr ""
+"Een techniek die vaak gebruikt wordt voor studio opnames is het afzonderlijk"
+" opnemen van delen die normaal gesproken samengespeeld zouden worden, en wat"
+" later weer samengevoegd gaat worden (zie de paragraaf \"Een sessie "
+"voorbereiden\" hieronder). Bijvoorbeeld, overweeg een opname waar een "
+"trompettist beide delen van een solo geschreven voor twee trompetten wil "
+"opnemen. Het orkest kan naar de studio gebracht worden kan het hele solo "
+"stuk spelen zonder trompet solo. <application>Ardour</application> zal dit "
+"in een track opnemen. Daarna gaat de trompet-solist naar de studio en "
+"gebruikt <application>Ardour</application> voor het tegelijkertijd luisteren"
+" naar de eerder opgenomen orkest track met het spelen van een van de trompet"
+" solo delen, welke in een andere track opgenomen wordt. De volgende dag "
+"keert de trompettist terug naar de studio en gebruikt "
+"<application>Ardour</application> om te luisteren naar de eerder opgenomen "
+"orkest track en het eerder opgenomen trompet solo deel terwijl hij het "
+"andere trompet solo deel speelt, welke opgenomen wordt op een derde track. "
+"De opname ingenieur gebruik de mix en edit functies van Audacity om het "
+"geluid te laten klinken alsof de trompettist beide solo onderdelen "
+"tegelijkertijd speelde, terwijl het orkest daar aanwezig was."
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
-msgstr "De coördinatie van de timing van muzikanten over tracks die afzonderlijk opgenomen zijn is moeilijk. Een \"klik track\" is een track met een consistente klikkende ruis van het gewenste tempo. Klik tracks worden afgespeeld via hoofdtelefoons voor de muzikanten die opgenomen worden of voor een musicus die de anderen leidt. Klik tracks worden niet opgenomen in de definitieve mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
+msgstr ""
+"De coördinatie van de timing van muzikanten over tracks die afzonderlijk "
+"opgenomen zijn is moeilijk. Een \"klik track\" is een track met een "
+"consistente klikkende ruis van het gewenste tempo. Klik tracks worden "
+"afgespeeld via hoofdtelefoons voor de muzikanten die opgenomen worden of "
+"voor een musicus die de anderen leidt. Klik tracks worden niet opgenomen in "
+"de definitieve mix."
#. Tag: para
#, no-c-format
@@ -746,8 +1239,16 @@ msgstr "Om dit te doen:"
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
-msgstr "Neem het eerste deel op. De volgorde waarin onderdelen opgenomen worden, wordt bepaald door de opname ingenieur (jij dus). Het is waarschijnlijk gemakkelijker diegene op te nemen die het meeste speelt of die de meest ritmisch consistente rol speelt, en daarna de anderen."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
+msgstr ""
+"Neem het eerste deel op. De volgorde waarin onderdelen opgenomen worden, "
+"wordt bepaald door de opname ingenieur (jij dus). Het is waarschijnlijk "
+"gemakkelijker diegene op te nemen die het meeste speelt of die de meest "
+"ritmisch consistente rol speelt, en daarna de anderen."
#. Tag: para
#, no-c-format
@@ -761,23 +1262,47 @@ msgstr "Stel de verbindingen in voor de nieuwe track."
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
-msgstr "Voer een niveau controle uit om ervoor te zorgen dat de nieuwe track niet te luid en niet te zacht is."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
+msgstr ""
+"Voer een niveau controle uit om ervoor te zorgen dat de nieuwe track niet te"
+" luid en niet te zacht is."
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
-msgstr "Stel het transport in op het begin van de passage waar je wilt beginnen met het opnemen van de volgende track. Je hoeft niet het begin van de track niet heel precies in te stellen, want dat kun je later wijzigen. Je moet ervoor zorgen dat de volgende speler genoeg tijd heeft nadat het transport gestart is om te horen waar hij verondersteld wordt om in te vallen en in welk tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
+msgstr ""
+"Stel het transport in op het begin van de passage waar je wilt beginnen met "
+"het opnemen van de volgende track. Je hoeft niet het begin van de track niet"
+" heel precies in te stellen, want dat kun je later wijzigen. Je moet ervoor "
+"zorgen dat de volgende speler genoeg tijd heeft nadat het transport gestart "
+"is om te horen waar hij verondersteld wordt om in te vallen en in welk "
+"tempo."
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
-msgstr "Je zult een manier moeten instellen voor de uitvoerende kunstenaars (of iemand die ze dirigeert/leidt) om het reeds opgenomen materiaal te horen. Het is waarschijnlijk het beste om dit met koptelefoons te doen."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
+msgstr ""
+"Je zult een manier moeten instellen voor de uitvoerende kunstenaars (of "
+"iemand die ze dirigeert/leidt) om het reeds opgenomen materiaal te horen. "
+"Het is waarschijnlijk het beste om dit met koptelefoons te doen."
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
-msgstr "Bereid de track voor die je wilt opnemen. Zorg ervoor dat al opgenomen tracks niet meer voorbereid zijn, zeker als ze in de \"tape\" mode zijn."
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
+msgstr ""
+"Bereid de track voor die je wilt opnemen. Zorg ervoor dat al opgenomen "
+"tracks niet meer voorbereid zijn, zeker als ze in de \"tape\" mode zijn."
#. Tag: para
#, no-c-format
@@ -791,8 +1316,20 @@ msgstr "Een betere opname vastleggen van iets dat al opgenomen is"
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
-msgstr "Als je reeds alles of het meeste van een sessie opgenomen hebt, kun je een *deel* van de sessie opnieuw opnemen voor het \"oplossen\" van eventuele problemen. <application>Ardour</application> laat je op de bestaande track opnemen, met behoud van de eerste opname, en legt de nieuw opgenomen regio erover heen. Later kun je kiezen tussen de exacte punten waarbij de uiteindelijke opname omschakelt tussen regio's/opnames."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
+msgstr ""
+"Als je reeds alles of het meeste van een sessie opgenomen hebt, kun je een "
+"*deel* van de sessie opnieuw opnemen voor het \"oplossen\" van eventuele "
+"problemen. <application>Ardour</application> laat je op de bestaande track "
+"opnemen, met behoud van de eerste opname, en legt de nieuw opgenomen regio "
+"erover heen. Later kun je kiezen tussen de exacte punten waarbij de "
+"uiteindelijke opname omschakelt tussen regio's/opnames."
#. Tag: para
#, no-c-format
@@ -801,13 +1338,28 @@ msgstr "De sessie opnemen."
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
-msgstr "Zorg ervoor dat je de verbindingen en niveau ingesteld hebt zoals ze waren toen je de eerste keer de regio's opnam die je nu opneemt gaat opnemen."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
+msgstr ""
+"Zorg ervoor dat je de verbindingen en niveau ingesteld hebt zoals ze waren "
+"toen je de eerste keer de regio's opnam die je nu opneemt gaat opnemen."
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
-msgstr "Je moet de transport locatie instellen. Kies een plaats die voor het segment ligt dat je wilt vervangen. De uitvoerenden moeten waarschijnlijk ook beginnen te spelen vóór de sectie die vervangen moet worden, dus je zult vroeg genoeg moeten beginnen zodat het tempo kunnen oppakken, in de stemming kunnen komen en dan beginnen met spelen *dit alles voordat* het deel begint wat vervangen moet worden."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
+msgstr ""
+"Je moet de transport locatie instellen. Kies een plaats die voor het segment"
+" ligt dat je wilt vervangen. De uitvoerenden moeten waarschijnlijk ook "
+"beginnen te spelen vóór de sectie die vervangen moet worden, dus je zult "
+"vroeg genoeg moeten beginnen zodat het tempo kunnen oppakken, in de stemming"
+" kunnen komen en dan beginnen met spelen *dit alles voordat* het deel begint"
+" wat vervangen moet worden."
#. Tag: para
#, no-c-format
@@ -826,78 +1378,190 @@ msgstr "Start het transport en neem de herziene muziek sectie op."
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
-msgstr "Op een bepaald moment heb je alles opgenomen wat je nodig hebt, en je zult willen verdergaan met mengen en bewerken."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
+msgstr ""
+"Op een bepaald moment heb je alles opgenomen wat je nodig hebt, en je zult "
+"willen verdergaan met mengen en bewerken."
#. Tag: title
#, no-c-format
msgid "Routing Audio and Managing <systemitem>JACK</systemitem> Connections"
-msgstr "Routering van audio en <systemitem>JACK</systemitem> verbindingen beheren"
+msgstr ""
+"Routering van audio en <systemitem>JACK</systemitem> verbindingen beheren"
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
-msgstr "<application>Ardour</application> slaat automatisch de toestand van <systemitem>JACK</systemitem> verbindingen op als een sessie wordt opgeslagen."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
+msgstr ""
+"<application>Ardour</application> slaat automatisch de toestand van "
+"<systemitem>JACK</systemitem> verbindingen op als een sessie wordt "
+"opgeslagen."
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
-msgstr "<application>Ardour</application> biedt de volgende output poorten, uitgaande van een stereo (twee-kanaal) opstelling:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
+msgstr ""
+"<application>Ardour</application> biedt de volgende output poorten, "
+"uitgaande van een stereo (twee-kanaal) opstelling:"
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
-msgstr "twee kanalen per track, \"track_naam/out 1\" en \"track_naam/out 2\" genaamd. Deze zullen meestal aangesloten worden op de master bus, of op een sub-mixer bus, als je die gebruikt."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
+msgstr ""
+"twee kanalen per track, \"track_naam/out 1\" en \"track_naam/out 2\" "
+"genaamd. Deze zullen meestal aangesloten worden op de master bus, of op een "
+"sub-mixer bus, als je die gebruikt."
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
-msgstr "twee kanalen per bus, \"bus_naam/out 1\" en \"bus_naam/out 2\" genaamd. Deze zullen meestal aangesloten worden op de master bus, tenzij je twee niveaus van sub-mixer bussen gebruikt."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
+msgstr ""
+"twee kanalen per bus, \"bus_naam/out 1\" en \"bus_naam/out 2\" genaamd. Deze"
+" zullen meestal aangesloten worden op de master bus, tenzij je twee niveaus "
+"van sub-mixer bussen gebruikt."
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
-msgstr "twee kanalen voor de auditioner, \"auditioner/out 1\" genaamd, welke de kanalen representeert gebruikt voor de auditie van een regio; als je het bijvoorbeeld wilt importeren, of in het \"Regions\" vak aan de rechterkant, als je een selecteert en rechts klikt \"Audition\" kiest. Deze moeten niet aangesloten worden op de master bus, maar op een output apparaat dat je wilt gebruiken voor de auditie van regio's."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
+msgstr ""
+"twee kanalen voor de auditioner, \"auditioner/out 1\" genaamd, welke de "
+"kanalen representeert gebruikt voor de auditie van een regio; als je het "
+"bijvoorbeeld wilt importeren, of in het \"Regions\" vak aan de rechterkant, "
+"als je een selecteert en rechts klikt \"Audition\" kiest. Deze moeten niet "
+"aangesloten worden op de master bus, maar op een output apparaat dat je wilt"
+" gebruiken voor de auditie van regio's."
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
-msgstr "twee kanalen voor de klik-track, genaamd \"click/out 1\", welke de kanalen representeren gebruikt voor het spelen de klik-track tijdens het opnemen. Deze moeten niet aangesloten worden op de master bus, maar op een output apparaat dat je wilt gebruiken voor de klik-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
+msgstr ""
+"twee kanalen voor de klik-track, genaamd \"click/out 1\", welke de kanalen "
+"representeren gebruikt voor het spelen de klik-track tijdens het opnemen. "
+"Deze moeten niet aangesloten worden op de master bus, maar op een output "
+"apparaat dat je wilt gebruiken voor de klik-track."
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
-msgstr "twee kanalen voor de master bus, \"master/out 1\" genaamd, welke de output representeren die gebruikt wordt door de master output bus. Deze moeten aangesloten worden op een output apparaat dat je gebruiken wilt voor het luisteren naar de sessie als het vervoer zich verplaatst."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
+msgstr ""
+"twee kanalen voor de master bus, \"master/out 1\" genaamd, welke de output "
+"representeren die gebruikt wordt door de master output bus. Deze moeten "
+"aangesloten worden op een output apparaat dat je gebruiken wilt voor het "
+"luisteren naar de sessie als het vervoer zich verplaatst."
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
-msgstr "<application>Ardour</application> biedt de volgende input poorten, voor een stereo (twee-kanaal) opstelling:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
+msgstr ""
+"<application>Ardour</application> biedt de volgende input poorten, voor een "
+"stereo (twee-kanaal) opstelling:"
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
-msgstr "twee kanalen per track, \"track_naam/in 1\" en \"track_naam/in 2\" genaamd. Deze moeten beide aangesloten worden op hetzelfde input apparaat. Als je een opname bus gebruikt, dan moeten deze aangesloten worden op die bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
+msgstr ""
+"twee kanalen per track, \"track_naam/in 1\" en \"track_naam/in 2\" genaamd. "
+"Deze moeten beide aangesloten worden op hetzelfde input apparaat. Als je een"
+" opname bus gebruikt, dan moeten deze aangesloten worden op die bus."
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
-msgstr "twee kanalen per bus, \"bus_naam/in 1\" en \"bus_naam/in 2\" genaamd. Deze moeten aangesloten worden op die kanalen die ermee gemixed moeten worden. Als je het als een opname bus gebruikt, dan moeten deze aangesloten worden op hetzelfde input apparaat."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
+msgstr ""
+"twee kanalen per bus, \"bus_naam/in 1\" en \"bus_naam/in 2\" genaamd. Deze "
+"moeten aangesloten worden op die kanalen die ermee gemixed moeten worden. "
+"Als je het als een opname bus gebruikt, dan moeten deze aangesloten worden "
+"op hetzelfde input apparaat."
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
-msgstr "twee kanalen voor de master bus, \"master/in 1\" genaamd, welke de input representeert gebruikt voor de master bus. Deze moeten aangesloten worden op alle tracks. Als je sub-bus mixen gebruikt, dan moeten alle tracks verbinding maken met de input van de master bus, rechtstreeks ofwel via een sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
+msgstr ""
+"twee kanalen voor de master bus, \"master/in 1\" genaamd, welke de input "
+"representeert gebruikt voor de master bus. Deze moeten aangesloten worden op"
+" alle tracks. Als je sub-bus mixen gebruikt, dan moeten alle tracks "
+"verbinding maken met de input van de master bus, rechtstreeks ofwel via een "
+"sub-bus."
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
-msgstr "In de meeste opstellingen stelt <application>Ardour</application> automatisch de kanaal verbindingen correct in. Er zijn manieren om de verbindingen binnen <application>Ardour</application> te wijzigen, maar deze bieden beperkte flexibiliteit. Om deze reden wordt het aanbevolen dat gebruikers <application>QjackCtl</application> gebruiken voor het controleren van verbindingen, omdat het via <application>QjackCtl</application> ook mogelijk is om vele andere functies voor <systemitem>JACK</systemitem> te controleren en te veranderen."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
+msgstr ""
+"In de meeste opstellingen stelt <application>Ardour</application> "
+"automatisch de kanaal verbindingen correct in. Er zijn manieren om de "
+"verbindingen binnen <application>Ardour</application> te wijzigen, maar deze"
+" bieden beperkte flexibiliteit. Om deze reden wordt het aanbevolen dat "
+"gebruikers <application>QjackCtl</application> gebruiken voor het "
+"controleren van verbindingen, omdat het via "
+"<application>QjackCtl</application> ook mogelijk is om vele andere functies "
+"voor <systemitem>JACK</systemitem> te controleren en te veranderen."
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
-msgstr "Leren om de juiste verbindingen te maken is een waardevolle truc voor mensen die <application>Ardour</application> gebruiken. Het feit dat <application>Ardour</application> <systemitem>JACK</systemitem> gebruikt voor zowel haar interne als externe verbindingen, laat trucs toe zoals de eerder genoemde opname bus (welke het input niveau van een bron aanpast), het omkeren van het linker en rechter geluidskanaal en het maken van een multi-kanaal audio uitput door het combineren van vele input kanalen. Ongetwijfeld bestaan er andere trucs."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
+msgstr ""
+"Leren om de juiste verbindingen te maken is een waardevolle truc voor mensen"
+" die <application>Ardour</application> gebruiken. Het feit dat "
+"<application>Ardour</application> <systemitem>JACK</systemitem> gebruikt "
+"voor zowel haar interne als externe verbindingen, laat trucs toe zoals de "
+"eerder genoemde opname bus (welke het input niveau van een bron aanpast), "
+"het omkeren van het linker en rechter geluidskanaal en het maken van een "
+"multi-kanaal audio uitput door het combineren van vele input kanalen. "
+"Ongetwijfeld bestaan er andere trucs."
#. Tag: title
#, no-c-format
@@ -906,8 +1570,17 @@ msgstr "Bestaande audio importeren"
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
-msgstr "Tijdens het opnemen van audio, slaat <application>Ardour</application> het automatisch op naar schijf en voegt een representatie van dat bestand in het programma toe als een \"regio\". Je kunt ook reeds bestaande audio bestanden als regio's gebruiken, die vervolgens aan elke track toegevoegd kunnen worden."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
+msgstr ""
+"Tijdens het opnemen van audio, slaat <application>Ardour</application> het "
+"automatisch op naar schijf en voegt een representatie van dat bestand in het"
+" programma toe als een \"regio\". Je kunt ook reeds bestaande audio "
+"bestanden als regio's gebruiken, die vervolgens aan elke track toegevoegd "
+"kunnen worden."
#. Tag: para
#, no-c-format
@@ -916,8 +1589,12 @@ msgstr "Om een bestaand audiobestand te importeren:"
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
-msgstr "Verwijder het \"Regions\" deel van het paneel aan de rechterkant van de interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
+msgstr ""
+"Verwijder het \"Regions\" deel van het paneel aan de rechterkant van de "
+"interface"
#. Tag: para
#, no-c-format
@@ -937,7 +1614,9 @@ msgstr "Het \"Add existing audio\" venster wordt geopend"
#. Tag: para
#, no-c-format
msgid "You can use three different tabs to select an audio file to add:"
-msgstr "Je kunt drie verschillende tabs gebruiken voor het selecteren van een audiobestand om toe te voegen:"
+msgstr ""
+"Je kunt drie verschillende tabs gebruiken voor het selecteren van een "
+"audiobestand om toe te voegen:"
#. Tag: para
#, no-c-format
@@ -956,23 +1635,58 @@ msgstr "\"Search Freesound\""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
-msgstr "Met \"Browse Files\" navigeer je naar een geluid dat je wilt toevoegen. Hoewel bepaalde andere bestandsformaten ondersteund worden (zoals FLAC), is het waarschijnlijk het beste om WAV of AIFF bestanden toe te voegen."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
+msgstr ""
+"Met \"Browse Files\" navigeer je naar een geluid dat je wilt toevoegen. "
+"Hoewel bepaalde andere bestandsformaten ondersteund worden (zoals FLAC), is "
+"het waarschijnlijk het beste om WAV of AIFF bestanden toe te voegen."
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
-msgstr "Bepaalde informatie over het audiobestand wordt getoond aan de rechter zijde van het venster. Dit gedeelte van het venster laat je het bestand ook \"auditen\" voordat je deze importeert (dat wil zeggen, je kunt het horen met behulp van de \"Play\" en \"Stop\" knoppen in het venster, zonder jouw huidige project te beïnvloeden)."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
+msgstr ""
+"Bepaalde informatie over het audiobestand wordt getoond aan de rechter zijde"
+" van het venster. Dit gedeelte van het venster laat je het bestand ook "
+"\"auditen\" voordat je deze importeert (dat wil zeggen, je kunt het horen "
+"met behulp van de \"Play\" en \"Stop\" knoppen in het venster, zonder jouw "
+"huidige project te beïnvloeden)."
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
-msgstr "Als het bestand dat je geselecteerd hebt een monsterfrequentie heeft dat niet hetzelfde is als die van het huidige project, dan zal de monsterfrequentie in rood gemarkeerd worden. Je kunt het hoe dan ook importeren, in welk geval <application>Ardour</application> je opnieuw waarschuwt. Als je een bestand importeert met een andere monsterfrequentie dan die van het huidige project, zal het terug gespeeld worden in de monsterfrequentie van het project. Dit zal resulteren in onjuiste snelheid en toonhoogte."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
+msgstr ""
+"Als het bestand dat je geselecteerd hebt een monsterfrequentie heeft dat "
+"niet hetzelfde is als die van het huidige project, dan zal de "
+"monsterfrequentie in rood gemarkeerd worden. Je kunt het hoe dan ook "
+"importeren, in welk geval <application>Ardour</application> je opnieuw "
+"waarschuwt. Als je een bestand importeert met een andere monsterfrequentie "
+"dan die van het huidige project, zal het terug gespeeld worden in de "
+"monsterfrequentie van het project. Dit zal resulteren in onjuiste snelheid "
+"en toonhoogte."
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
-msgstr "Er zijn een aantal andere opties, weergegeven aan de onderkant van het venster."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
+msgstr ""
+"Er zijn een aantal andere opties, weergegeven aan de onderkant van het "
+"venster."
#. Tag: para
#, no-c-format
@@ -981,33 +1695,66 @@ msgstr "Je kunt kiezen om bestanden toe te voegen:"
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
-msgstr "\"as new tracks\", welke elk bestand in zijn eigen track plaatst, ingesteld op normale mode, en het dan toevoegt aan de regio lijst"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
+msgstr ""
+"\"as new tracks\", welke elk bestand in zijn eigen track plaatst, ingesteld "
+"op normale mode, en het dan toevoegt aan de regio lijst"
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
-msgstr "\"as new tape tracks\", welke elk bestand in zijn eigen track plaatst, ingesteld op tape mode, en het dan toevoegt aan de regio lijst"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
+msgstr ""
+"\"as new tape tracks\", welke elk bestand in zijn eigen track plaatst, "
+"ingesteld op tape mode, en het dan toevoegt aan de regio lijst"
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
-msgstr "\"to region list\", welke elk bestand in de regio lijst plaatst, maar niet automatisch vin een track plaatst."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
+msgstr ""
+"\"to region list\", welke elk bestand in de regio lijst plaatst, maar niet "
+"automatisch vin een track plaatst."
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
-msgstr "Merk op dat als je kiest voor het automatisch aanmaken van nieuwe tracks, <application>Ardour</application> de regio toevoegt aan de nieuwe track, waarbij de regio begint vanaf de huidige locatie van het transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
+msgstr ""
+"Merk op dat als je kiest voor het automatisch aanmaken van nieuwe tracks, "
+"<application>Ardour</application> de regio toevoegt aan de nieuwe track, "
+"waarbij de regio begint vanaf de huidige locatie van het transport."
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
-msgstr "De andere opties in deze lijst spreken voor zichzelf. Het is meestal het beste om te converteren met de beste kwaliteit, omdat de kwaliteit later altijd gereduceerd kan worden (wat ruimte bespaart)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
+msgstr ""
+"De andere opties in deze lijst spreken voor zichzelf. Het is meestal het "
+"beste om te converteren met de beste kwaliteit, omdat de kwaliteit later "
+"altijd gereduceerd kan worden (wat ruimte bespaart)."
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
-msgstr "Als je koos om niet automatisch tracks te maken, dan moet je de geïmporteerde regio's toevoegen aan een track voordat ze in jouw sessie gespeeld zullen worden. Je kunt dit gemakkelijk doen door het selecteren van de regio in het \"Regions\" vak aan de rechterkant en het naar een track te slepen."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
+msgstr ""
+"Als je koos om niet automatisch tracks te maken, dan moet je de "
+"geïmporteerde regio's toevoegen aan een track voordat ze in jouw sessie "
+"gespeeld zullen worden. Je kunt dit gemakkelijk doen door het selecteren van"
+" de regio in het \"Regions\" vak aan de rechterkant en het naar een track te"
+" slepen."
#. Tag: title
#, no-c-format
@@ -1015,23 +1762,44 @@ msgid "Files for the Tutorial"
msgstr "Bestanden voor de handleiding"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
-msgstr "Deze handleiding bestanden vertegenwoordigen het materiaal vereist voor het maken van een voltooide versie van een lied genaamd \"Here Is How\", geschreven door Esther Wheaton. Het lied werd uitgebracht als onderdeel van haar eerste album, \"Not Lengendary\", en ze heeft de bronbestanden voor dit nummer vrijgegeven onder !!I!! deze licentie (waarschijnlijk CC-BY-SA) !!I!! Voor meer informatie over de artiest, refereer je naar haar <citetitle>Esther Wheaton's Myspace Page</citetitle>, beschikbaar op <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+#, no-c-format
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1041,13 +1809,32 @@ msgstr "Een lied bewerken (handleiding)"
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
-msgstr "Deze paragraaf behandelt de basis beginselen van de voorbereiding voor \"Here Is How\". De focus ligt op het inkorten van de regio's en ze in de juiste positie op de tijdlijn plaatsen. Omdat het doel is de vorm van het originele lied te repliceren, is er weinig ruimte voor artistieke vrijheid."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
+msgstr ""
+"Deze paragraaf behandelt de basis beginselen van de voorbereiding voor "
+"\"Here Is How\". De focus ligt op het inkorten van de regio's en ze in de "
+"juiste positie op de tijdlijn plaatsen. Omdat het doel is de vorm van het "
+"originele lied te repliceren, is er weinig ruimte voor artistieke vrijheid."
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
-msgstr "Om in deze paragraaf zo veel mogelijk te leren, moet je de zelfstudie bestanden gebruiken die hierboven aangeboden worden. Door de instructies op te volgen met het handleiding bestand, kun je echte bewerking, mixing en mastering technieken gebruiken om een echt lied te maken. Instructies voor het verkrijgen van de zelfstudie bestanden vind je in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgstr ""
+"Om in deze paragraaf zo veel mogelijk te leren, moet je de zelfstudie "
+"bestanden gebruiken die hierboven aangeboden worden. Door de instructies op "
+"te volgen met het handleiding bestand, kun je echte bewerking, mixing en "
+"mastering technieken gebruiken om een echt lied te maken. Instructies voor "
+"het verkrijgen van de zelfstudie bestanden vind je in <xref linkend=\"sect-"
+"Musicians_Guide-Ardour-Tutorial_Files\" />."
#. Tag: title
#, no-c-format
@@ -1056,13 +1843,42 @@ msgstr "Tracks en bussen toevoegen"
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
-msgstr "Het programma gebruikt om deze nummers op te nemen is geconfigureerd om de linker en rechter kanalen in een aparte track op te nemen, dus moet <application>Ardour</application> ook op deze manier geconfigureerd worden. Het vereist meer instellen, meer geheugen en meer verwerkingskracht, maar het biedt meer controle over het stereo beeld en niveau balancering. Wij gebruiken een track voor zang, klarinet en strijkers, en twee tracks voor de marimba. Dit moet verdubbeld worden voor stereo audio, zodat een totaal van tien tracks nodig zijn. Het zou nog steeds nuttig kunnen zijn om de stereo tracks tezamen te manipuleren, dus gaan we deze combineren met vijf bussen. Dit geeft ons de mogelijkheid voor het veranderen van zowel stereo kanalen als slechts een - je zult zien hoe dat werkt als de handleiding gevolgd wordt. Al deze acties vinden plaats binnen <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
+msgstr ""
+"Het programma gebruikt om deze nummers op te nemen is geconfigureerd om de "
+"linker en rechter kanalen in een aparte track op te nemen, dus moet "
+"<application>Ardour</application> ook op deze manier geconfigureerd worden. "
+"Het vereist meer instellen, meer geheugen en meer verwerkingskracht, maar "
+"het biedt meer controle over het stereo beeld en niveau balancering. Wij "
+"gebruiken een track voor zang, klarinet en strijkers, en twee tracks voor de"
+" marimba. Dit moet verdubbeld worden voor stereo audio, zodat een totaal van"
+" tien tracks nodig zijn. Het zou nog steeds nuttig kunnen zijn om de stereo "
+"tracks tezamen te manipuleren, dus gaan we deze combineren met vijf bussen. "
+"Dit geeft ons de mogelijkheid voor het veranderen van zowel stereo kanalen "
+"als slechts een - je zult zien hoe dat werkt als de handleiding gevolgd "
+"wordt. Al deze acties vinden plaats binnen "
+"<application>Ardour</application>."
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
-msgstr "Er is al een master bus, met de naam \"master\". Alle audio bedoeld voor output moet naar deze bus gevoed worden."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
+msgstr ""
+"Er is al een master bus, met de naam \"master\". Alle audio bedoeld voor "
+"output moet naar deze bus gevoed worden."
#. Tag: para
#, no-c-format
@@ -1086,8 +1902,12 @@ msgstr "Klik op 'Add'"
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
-msgstr "Er moeten vijf bussen verschijnen in het canvas gebied onder de master bus, met de namen \"Bus 1\" tot en met \"Bus 5\"."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
+msgstr ""
+"Er moeten vijf bussen verschijnen in het canvas gebied onder de master bus, "
+"met de namen \"Bus 1\" tot en met \"Bus 5\"."
#. Tag: para
#, no-c-format
@@ -1096,23 +1916,39 @@ msgstr "Verander de bus namen:"
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
-msgstr "Meest links in het canvas gebied heeft elke bus een ruimte met besturingselementen, inclusief de naam van de bus."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
+msgstr ""
+"Meest links in het canvas gebied heeft elke bus een ruimte met "
+"besturingselementen, inclusief de naam van de bus."
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
-msgstr "Om de naam van de bus te veranderen gebruik je de muis om links te klikken in het vak met de naam van de bus."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
+msgstr ""
+"Om de naam van de bus te veranderen gebruik je de muis om links te klikken "
+"in het vak met de naam van de bus."
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
-msgstr "Het vak zal in een tekstbewerking veld veranderen. Wis de inhoud en typ de nieuwe naam in."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
+msgstr ""
+"Het vak zal in een tekstbewerking veld veranderen. Wis de inhoud en typ de "
+"nieuwe naam in."
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
-msgstr "Als je de nieuwe naam ingevoerd hebt, drukt je op \"Enter\" op het toetsenbord om het in <application>Ardour</application> in te stellen."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
+msgstr ""
+"Als je de nieuwe naam ingevoerd hebt, drukt je op \"Enter\" op het "
+"toetsenbord om het in <application>Ardour</application> in te stellen."
#. Tag: para
#, no-c-format
@@ -1156,13 +1992,27 @@ msgstr "Pas de opties aan om 10 normale mode mono tracks toe te voegen."
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
-msgstr "Er moeten tien tracks verschijnen in het canvas gebied, met de namen \"Audio 1\" tot en met \"Audio 10\"."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
+msgstr ""
+"Er moeten tien tracks verschijnen in het canvas gebied, met de namen \"Audio"
+" 1\" tot en met \"Audio 10\"."
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
-msgstr "Verander de namen van de track op dezelfde manier zoals je de busnamen gewijzigd hebt. Denk eraan dat elke track hier alleen het linker of rechter audiokanaal zal bevatten, elke moet een pre-fix of post-fix hebben van \"0\" of \"L\" voor het linker kanaal, of een \"1\" of \"R\" voor het juiste kanaal. Ze moeten er ongeveer als het volgende uitzien:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
+msgstr ""
+"Verander de namen van de track op dezelfde manier zoals je de busnamen "
+"gewijzigd hebt. Denk eraan dat elke track hier alleen het linker of rechter "
+"audiokanaal zal bevatten, elke moet een pre-fix of post-fix hebben van \"0\""
+" of \"L\" voor het linker kanaal, of een \"1\" of \"R\" voor het juiste "
+"kanaal. Ze moeten er ongeveer als het volgende uitzien:"
#. Tag: para
#, no-c-format
@@ -1216,8 +2066,16 @@ msgstr "clarinet-R"
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
-msgstr "Tenslotte zullen we de volgorde van de tracks en bussen verandern. Dit is niet strikt noodzakelijk, en je kunt de volgorde gebruiken die jij het handigste vindt. Je kunt er bijvoorbeeld voor kiezen om de marimba onderin te plaatsen, omdat die het grootste deel van het lied zal spelen."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
+msgstr ""
+"Tenslotte zullen we de volgorde van de tracks en bussen verandern. Dit is "
+"niet strikt noodzakelijk, en je kunt de volgorde gebruiken die jij het "
+"handigste vindt. Je kunt er bijvoorbeeld voor kiezen om de marimba onderin "
+"te plaatsen, omdat die het grootste deel van het lied zal spelen."
#. Tag: para
#, no-c-format
@@ -1226,33 +2084,69 @@ msgstr "Zoek de sessie zijbalk op, rechts van het canvas gebied."
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
-msgstr "Er zijn vijf tab bladen om uit te kiezen: Regions, Tracks/Busses, Snapshots, Edot Groups en Chunks. Selecteer 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
+msgstr ""
+"Er zijn vijf tab bladen om uit te kiezen: Regions, Tracks/Busses, Snapshots,"
+" Edot Groups en Chunks. Selecteer 'Tracks/Busses'"
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
-msgstr "Alle tracks en bussen worden in een lijst getoond, samen met een selectie vakje dat zal die track of bus zal weergeven of verbergen op het canvas gebied. Nu kun je zien waarom het een goed idee is om het woord \"bus\" in de namen van de bussen te gebruiken."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgstr ""
+"Alle tracks en bussen worden in een lijst getoond, samen met een selectie "
+"vakje dat zal die track of bus zal weergeven of verbergen op het canvas "
+"gebied. Nu kun je zien waarom het een goed idee is om het woord \"bus\" in "
+"de namen van de bussen te gebruiken."
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
-msgstr "Om de volgorde van tracks en bussen te veranderen, gebruik je de muis om op de naam van de track of bus die je wilt verplaatsen te klikken en deze vervolgens te verslepen."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
+msgstr ""
+"Om de volgorde van tracks en bussen te veranderen, gebruik je de muis om op "
+"de naam van de track of bus die je wilt verplaatsen te klikken en deze "
+"vervolgens te verslepen."
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
-msgstr "Als je begint met het verslepen van een track of bus, zal een een lijn in de lijst verschijnen die aangeeft waar de track of bus naat toe gaat. Het kan handig zijn om de track of bus die je versleept iets opzij te bewegen zodat je de lijst steeds kunt zien. "
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
+msgstr ""
+"Als je begint met het verslepen van een track of bus, zal een een lijn in de"
+" lijst verschijnen die aangeeft waar de track of bus naat toe gaat. Het kan "
+"handig zijn om de track of bus die je versleept iets opzij te bewegen zodat "
+"je de lijst steeds kunt zien. "
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
-msgstr "De interface laat het lijken alsof je een track of bus kan verplaatsen boven op een andere track of bus. Dat is niet het geval. Als het er ziet alsof een track of bus boven op een andere track of bus terecht gaat komen, zal het uiteindelijk in de lijst net boven die track of bus geplaatst worden."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
+msgstr ""
+"De interface laat het lijken alsof je een track of bus kan verplaatsen boven"
+" op een andere track of bus. Dat is niet het geval. Als het er ziet alsof "
+"een track of bus boven op een andere track of bus terecht gaat komen, zal "
+"het uiteindelijk in de lijst net boven die track of bus geplaatst worden."
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
-msgstr "Voor het bewerken, is het handig om elke bus naast de sporen die het zal beheren. Dit kan later altijd veranderd worden."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
+msgstr ""
+"Voor het bewerken, is het handig om elke bus naast de sporen die het zal "
+"beheren. Dit kan later altijd veranderd worden."
#. Tag: title
#, no-c-format
@@ -1261,53 +2155,118 @@ msgstr "Verbind de tracks en bussen"
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
-msgstr "Hoewel we in onze gedachten een systeem van bussen aangemaakt hebben, hebben we <application>Ardour</application> hierover nog niets verteld. Je kunt <application>QjackCtl</application> gebruiken om het volgende te bevestigen: alle extra sporen en bussen zijn aangesloten om audio output naar de master bus te sturen. Erger nog, de extra bussen hebben helemaal geen input signaal. Er zijn twee benaderingen om <application>Ardour</application> te laten weten hoe we verbinding willen maken tussen de tracks en bussen. Zij zullen allebei gedemonstreerd worden, en de rest wordt aan jou overgelaten."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
+msgstr ""
+"Hoewel we in onze gedachten een systeem van bussen aangemaakt hebben, hebben"
+" we <application>Ardour</application> hierover nog niets verteld. Je kunt "
+"<application>QjackCtl</application> gebruiken om het volgende te bevestigen:"
+" alle extra sporen en bussen zijn aangesloten om audio output naar de master"
+" bus te sturen. Erger nog, de extra bussen hebben helemaal geen input "
+"signaal. Er zijn twee benaderingen om <application>Ardour</application> te "
+"laten weten hoe we verbinding willen maken tussen de tracks en bussen. Zij "
+"zullen allebei gedemonstreerd worden, en de rest wordt aan jou overgelaten."
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
-msgstr "Een manier om tracks en bussen te verbinden is meer geschikt voor kleinschalige verbinding veranderingen."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
+msgstr ""
+"Een manier om tracks en bussen te verbinden is meer geschikt voor "
+"kleinschalige verbinding veranderingen."
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
-msgstr "Selecteer de \"marimba1-L\" track door te klikken in het controle gebied van de track, onder de besturingselementen."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
+msgstr ""
+"Selecteer de \"marimba1-L\" track door te klikken in het controle gebied van"
+" de track, onder de besturingselementen."
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
-msgstr "De editor mixer aan de linkerkant van het canvas gebied moet de naam van de track tonen in de buurt van de top met de kleur van de track (waarschijnlijk groen in dit geval)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
+msgstr ""
+"De editor mixer aan de linkerkant van het canvas gebied moet de naam van de "
+"track tonen in de buurt van de top met de kleur van de track (waarschijnlijk"
+" groen in dit geval)."
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
-msgstr "Als je de editor mixer niet ziet, openen je het via het menu. Klik op 'View > Show Editor Mixer' zodat het aangezet wordt. Je kunt ook op 'Shift + E' duwen op het toetsenbord de weergave om te schakelen."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
+msgstr ""
+"Als je de editor mixer niet ziet, openen je het via het menu. Klik op 'View "
+"> Show Editor Mixer' zodat het aangezet wordt. Je kunt ook op 'Shift + E'"
+" duwen op het toetsenbord de weergave om te schakelen."
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
-msgstr "Nadat je bevestigd dat hebt de editor mixer het besturingselement voor de \"marimba1-L\" track laat zien, kijk je naar de knop onderin de editor mixer, boven 'Comments'. Het moet \"master\" zeggen, wat betekent dat zijn output aangesloten is op de master bus. Dat is niet wat we willen, dus klik op de \"master\" knop."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
+msgstr ""
+"Nadat je bevestigd dat hebt de editor mixer het besturingselement voor de "
+"\"marimba1-L\" track laat zien, kijk je naar de knop onderin de editor "
+"mixer, boven 'Comments'. Het moet \"master\" zeggen, wat betekent dat zijn "
+"output aangesloten is op de master bus. Dat is niet wat we willen, dus klik "
+"op de \"master\" knop."
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
-msgstr "Wanneer je op de 'master' knop klikt, verschijnt een menu, waar je verschillende output kan kiezen. Wij willen de track verbinden met de \"Bus-marimba1\" bus, welke niet in de lijst is, dus kies je 'Edit' in het menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
+msgstr ""
+"Wanneer je op de 'master' knop klikt, verschijnt een menu, waar je "
+"verschillende output kan kiezen. Wij willen de track verbinden met de \"Bus-"
+"marimba1\" bus, welke niet in de lijst is, dus kies je 'Edit' in het menu."
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
-msgstr "Het verbinding venster dat weergegeven wordt ziet er verwarrend uit, maar is het niet. Hier volgt hoe het werkt:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
+msgstr ""
+"Het verbinding venster dat weergegeven wordt ziet er verwarrend uit, maar is"
+" het niet. Hier volgt hoe het werkt:"
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
-msgstr "De linkerkant, met het label \"Outputs\", bevat twee output kanalen, \"out 1\" en \"out 2\", samen met een lijst van alles waarop die uitgangen aangesloten zijn."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
+msgstr ""
+"De linkerkant, met het label \"Outputs\", bevat twee output kanalen, \"out "
+"1\" en \"out 2\", samen met een lijst van alles waarop die uitgangen "
+"aangesloten zijn."
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
-msgstr "De 'Add' knop voegt een output kanaal toe. We voeren het signaal uit naar een stereo bus, dus twee is genoeg."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
+msgstr ""
+"De 'Add' knop voegt een output kanaal toe. We voeren het signaal uit naar "
+"een stereo bus, dus twee is genoeg."
#. Tag: para
#, no-c-format
@@ -1316,8 +2275,10 @@ msgstr "De 'Remove' knop verwijdert een output kanaal."
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
-msgstr "De 'Disconnect All' knop verwijdert alle output verbindingen van de track."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
+msgstr ""
+"De 'Disconnect All' knop verwijdert alle output verbindingen van de track."
#. Tag: para
#, no-c-format
@@ -1326,18 +2287,30 @@ msgstr "Klikken op een verbinding in deze lijst zal het verwijderen."
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
-msgstr "De rechterkant, met het label \"Available connections\", bevat een lijst met alle inputs aangeboden door <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
+msgstr ""
+"De rechterkant, met het label \"Available connections\", bevat een lijst met"
+" alle inputs aangeboden door <systemitem>JACK</systemitem>."
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
-msgstr "Elke toepassing die zich van <systemitem>JACK</systemitem> bewust is heeft een tab met waarop zijn de verbindingen weergegeven worden."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
+msgstr ""
+"Elke toepassing die zich van <systemitem>JACK</systemitem> bewust is heeft "
+"een tab met waarop zijn de verbindingen weergegeven worden."
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
-msgstr "Klikken op een verbinding in deze lijst zal het toevoegen aan het laatst geselecteerde output kanaal."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
+msgstr ""
+"Klikken op een verbinding in deze lijst zal het toevoegen aan het laatst "
+"geselecteerde output kanaal."
#. Tag: para
#, no-c-format
@@ -1351,18 +2324,30 @@ msgstr "Klik in de lege \"out 1\" lijst."
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
-msgstr "Klik in de \"Available connections\" lijst op de \"Bus-marimba1/in 1\" verbinding. Het zal toegevoegd worden aan de \"out 1\" lijst."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
+msgstr ""
+"Klik in de \"Available connections\" lijst op de \"Bus-marimba1/in 1\" "
+"verbinding. Het zal toegevoegd worden aan de \"out 1\" lijst."
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
-msgstr "Klik dan op de \"Bus-marimba1/in 2\" verbinding. Het zal toegevoegd worden aan de \"out 2\" lijst."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
+msgstr ""
+"Klik dan op de \"Bus-marimba1/in 2\" verbinding. Het zal toegevoegd worden "
+"aan de \"out 2\" lijst."
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
-msgstr "Het uiterlijk van de verbinding lijsten zal veranderen om aan te geven dat je een paar verbindingen toegevoegd hebt."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
+msgstr ""
+"Het uiterlijk van de verbinding lijsten zal veranderen om aan te geven dat "
+"je een paar verbindingen toegevoegd hebt."
#. Tag: para
#, no-c-format
@@ -1371,28 +2356,53 @@ msgstr "Klik op 'Close' om de verbinding verandering aan te zetten."
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
-msgstr "Merk op dat de \"master\" knop nu iets zegt als \"Bus-ma\", omdat de output verbinding van de track gewijzigd is."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
+msgstr ""
+"Merk op dat de \"master\" knop nu iets zegt als \"Bus-ma\", omdat de output "
+"verbinding van de track gewijzigd is."
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
-msgstr "De andere manier om verbindingen te veranderen is veel sneller voor grootschalige veranderingen zoals die hier nodig."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
+msgstr ""
+"De andere manier om verbindingen te veranderen is veel sneller voor "
+"grootschalige veranderingen zoals die hier nodig."
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
-msgstr "Kies <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
+msgstr ""
+"Kies <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
-msgstr "Het \"Track/Bus Inspecteur\" venster zal verschijnen. Het heeft een lijst van de sporen en bussen aan de linkerkant en vier tabbladen met informatie aan de rechterkant."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
+msgstr ""
+"Het \"Track/Bus Inspecteur\" venster zal verschijnen. Het heeft een lijst "
+"van de sporen en bussen aan de linkerkant en vier tabbladen met informatie "
+"aan de rechterkant."
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
-msgstr "De \"Inputs\" en \"Outputs\" tabbladen laten je de input en output verbindingen van de geselecteerde track of bus bekijken en configureren. De twee \"Redirect\" tabbladen laten je de plug-in instellingen configureren, welke in deze handleiding niet behandeld worden."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
+msgstr ""
+"De \"Inputs\" en \"Outputs\" tabbladen laten je de input en output "
+"verbindingen van de geselecteerde track of bus bekijken en configureren. De "
+"twee \"Redirect\" tabbladen laten je de plug-in instellingen configureren, "
+"welke in deze handleiding niet behandeld worden."
#. Tag: para
#, no-c-format
@@ -1406,33 +2416,53 @@ msgstr "Je moet de \"Input\" en \"Output\" tabbladen herkennen."
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
-msgstr "Controleer dat de \"marimba1-L\" track aangesloten is op de input van deze bus, en dat de uitgang van de bus aangesloten is op de \"master\" bus ingangen."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
+msgstr ""
+"Controleer dat de \"marimba1-L\" track aangesloten is op de input van deze "
+"bus, en dat de uitgang van de bus aangesloten is op de \"master\" bus "
+"ingangen."
#. Tag: para
#, no-c-format
msgid "Add both outputs of the \"marimba1-R\" track to the bus' input list."
-msgstr "Voeg beide uitgangen van de \"marimba1-R\" track toe in input lijst van de bus."
+msgstr ""
+"Voeg beide uitgangen van de \"marimba1-R\" track toe in input lijst van de "
+"bus."
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
-msgstr "Controleer de outputs van de \"marimba1-R\" track. Dit is niet helemaal wat we wilden, dus verwijder de master bus verbinding."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
+msgstr ""
+"Controleer de outputs van de \"marimba1-R\" track. Dit is niet helemaal wat "
+"we wilden, dus verwijder de master bus verbinding."
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
-msgstr "Pas de resterende tracks zodanig aan dat ze aangesloten zijn zoals beschreven in de onderstaande tabel."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
+msgstr ""
+"Pas de resterende tracks zodanig aan dat ze aangesloten zijn zoals "
+"beschreven in de onderstaande tabel."
#. Tag: para
#, no-c-format
msgid "Verify the connections by viewing the busses' \"Input\" tabs."
-msgstr "Controleer de verbindingen door het bekijken van de \"Input\" tabbladen van de bussen."
+msgstr ""
+"Controleer de verbindingen door het bekijken van de \"Input\" tabbladen van "
+"de bussen."
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
-msgstr "Controleer dat alleen de vijf bussen aangesloten zijn op de ingangen van de master bus."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
+msgstr ""
+"Controleer dat alleen de vijf bussen aangesloten zijn op de ingangen van de "
+"master bus."
#. Tag: title
#, no-c-format
@@ -1446,18 +2476,42 @@ msgstr "Voeg regio's aan tracks toe"
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
-msgstr "De volgende stap is het toevoegen van de regio's aan de tracks. Het zou sneller zijn als we de regio's nu ook zouden bijsnijden, maar er zijn vele redenen dat het nuttig kan zijn om langer regio's te hebben, of rust (bijna stille ruimte) binnen een regio, daarom laten we ze nu in tact."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
+msgstr ""
+"De volgende stap is het toevoegen van de regio's aan de tracks. Het zou "
+"sneller zijn als we de regio's nu ook zouden bijsnijden, maar er zijn vele "
+"redenen dat het nuttig kan zijn om langer regio's te hebben, of rust (bijna "
+"stille ruimte) binnen een regio, daarom laten we ze nu in tact."
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
-msgstr "In de sessie zijbalk (rechts van het canvas gebied), selecteer je de \"Regions\" tab. Deze lijst bevat alle regio's in de sessie. Elke regio wordt een keer weergegeven, ongeacht het aantal keren dat het weergegeven wordt in de tijdlijn, of als het zelfs helemaal niet gebruikt wordt."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
+msgstr ""
+"In de sessie zijbalk (rechts van het canvas gebied), selecteer je de "
+"\"Regions\" tab. Deze lijst bevat alle regio's in de sessie. Elke regio "
+"wordt een keer weergegeven, ongeacht het aantal keren dat het weergegeven "
+"wordt in de tijdlijn, of als het zelfs helemaal niet gebruikt wordt."
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
-msgstr "Om een regio aan het canvas gebied toe te voegen, klik je gewoon op de naam van de regio en je sleept het naar een track. De cursor zal veranderen als je dit doet, zodat de verticale lijn van de cursor een punt zal tonen waar de regio in de tijdlijn zal beginnen."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
+msgstr ""
+"Om een regio aan het canvas gebied toe te voegen, klik je gewoon op de naam "
+"van de regio en je sleept het naar een track. De cursor zal veranderen als "
+"je dit doet, zodat de verticale lijn van de cursor een punt zal tonen waar "
+"de regio in de tijdlijn zal beginnen."
#. Tag: para
#, no-c-format
@@ -1466,48 +2520,126 @@ msgstr "Zo gemakkelijk is het toevoegen van regio's!"
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
-msgstr "Je raadt het al - er is meer dan dat, en het heeft meestal te maken met de instelling van dit bepaald bestand. Je zult merken dat de regio list vele gelijksoortig genaamde regio's heeft, en dat de meeste namen overeenkomen met bepaalde tracks en een bus. De bestanden hebben de naam die je aangeven wat erin zit. Ze hebben een nummer gekregen zodat je de volgorde kent waarin ze zijn toegevoegd (\"Marimba_1\" regio's voor \"Marimba_2\"), en een letter \"L\" of \"R\" aan het einde om aan te duiden of de regio het linker of rechter kanaal is. Bovendien behoren de regio's die beginnen met \"ens-\" op de \"voice\" tracks (\"ens\" is kort voor \"ensemble\", wat betekent dat deze regio's een klein vocaal ensemble bevatten, terwijl de \"Voice... \" regio's slechts één zanger bevatten). De \"Here_Is_How\" regio's behoren voor de \"Create_the_Inconceivable\" regio's. Denk eraan: er is geen technische reden dat de regio's heten zoals ze zijn. De namen zijn er om je te helpen me
t het bewerken en mixen van het lied. We hoeven de \"marimba2\" tracks of bus nog niet te gebruiken, dus voeg alle \"Marimba_\" regio's toe aan de \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
+msgstr ""
+"Je raadt het al - er is meer dan dat, en het heeft meestal te maken met de "
+"instelling van dit bepaald bestand. Je zult merken dat de regio list vele "
+"gelijksoortig genaamde regio's heeft, en dat de meeste namen overeenkomen "
+"met bepaalde tracks en een bus. De bestanden hebben de naam die je aangeven "
+"wat erin zit. Ze hebben een nummer gekregen zodat je de volgorde kent waarin"
+" ze zijn toegevoegd (\"Marimba_1\" regio's voor \"Marimba_2\"), en een "
+"letter \"L\" of \"R\" aan het einde om aan te duiden of de regio het linker "
+"of rechter kanaal is. Bovendien behoren de regio's die beginnen met \"ens-\""
+" op de \"voice\" tracks (\"ens\" is kort voor \"ensemble\", wat betekent dat"
+" deze regio's een klein vocaal ensemble bevatten, terwijl de \"Voice... \" "
+"regio's slechts één zanger bevatten). De \"Here_Is_How\" regio's behoren "
+"voor de \"Create_the_Inconceivable\" regio's. Denk eraan: er is geen "
+"technische reden dat de regio's heten zoals ze zijn. De namen zijn er om je "
+"te helpen met het bewerken en mixen van het lied. We hoeven de \"marimba2\" "
+"tracks of bus nog niet te gebruiken, dus voeg alle \"Marimba_\" regio's toe "
+"aan de \"marimba1\" tracks."
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
-msgstr "Als je de regio's toevoegt, zul je veel leren over manipuleren van regio's in <application>Ardour</application>. Hier zijn enkele tips om je te helpen:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
+msgstr ""
+"Als je de regio's toevoegt, zul je veel leren over manipuleren van regio's "
+"in <application>Ardour</application>. Hier zijn enkele tips om je te helpen:"
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
-msgstr "Gebruik het schuifwiel van de muis (als je er een hebt) om verticaal te schuiven en alle tracks te zien."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
+msgstr ""
+"Gebruik het schuifwiel van de muis (als je er een hebt) om verticaal te "
+"schuiven en alle tracks te zien."
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
-msgstr "Houd de 'Ctrl' toets op het toetsenbord omlaag en gebruik het schuifwiel van de muis om de hoeveelheid tijd zichtbare tijd in het canvas venster aan te passen."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
+msgstr ""
+"Houd de 'Ctrl' toets op het toetsenbord omlaag en gebruik het schuifwiel van"
+" de muis om de hoeveelheid tijd zichtbare tijd in het canvas venster aan te "
+"passen."
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
-msgstr "Houd de 'Alt' toets op het toetsenbord omlaag en gebruik van het schuifwiel van de muis om horizontaal te schuiven, bewegen langs de tijdlijn."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
+msgstr ""
+"Houd de 'Alt' toets op het toetsenbord omlaag en gebruik van het schuifwiel "
+"van de muis om horizontaal te schuiven, bewegen langs de tijdlijn."
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
-msgstr "Na het plaatsen van een regio, kun je deze naar elke plek in het canvas gebied verplaatsen. Je moet de \"Select/Move Objects\" gereedschap gebruiken: klik op de aanwijshand icoon in de werkbalk onder de transportknoppen."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
+msgstr ""
+"Na het plaatsen van een regio, kun je deze naar elke plek in het canvas "
+"gebied verplaatsen. Je moet de \"Select/Move Objects\" gereedschap "
+"gebruiken: klik op de aanwijshand icoon in de werkbalk onder de "
+"transportknoppen."
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
-msgstr "Als je een regio verplaatst, moet je klikken en slepen vanuit het grote gebied boven de gekleurde balk. Als je in de gekleurde balk aan de onderkant van de regio klikt, verklein je de grootte van de regio."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
+msgstr ""
+"Als je een regio verplaatst, moet je klikken en slepen vanuit het grote "
+"gebied boven de gekleurde balk. Als je in de gekleurde balk aan de onderkant"
+" van de regio klikt, verklein je de grootte van de regio."
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
-msgstr "Als je alleen op deze manier tracks toevoegt, is het niet belangrijk dat ze perfect gesynchroniseerd zijn. Je de \"magnetic\" uitlijnen functie gebruiken om het begin van een track automatisch uit te lijnen op de tweede. Als je een regio langzaam sleept, zal bij het naderen van de start bij een tweede (aangegeven door verticale lijnen door het canvas gebied) de regio lijken te \"plakken\" aan de tweede. Later kun je deze functie uitschakelen."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
+msgstr ""
+"Als je alleen op deze manier tracks toevoegt, is het niet belangrijk dat ze "
+"perfect gesynchroniseerd zijn. Je de \"magnetic\" uitlijnen functie "
+"gebruiken om het begin van een track automatisch uit te lijnen op de tweede."
+" Als je een regio langzaam sleept, zal bij het naderen van de start bij een "
+"tweede (aangegeven door verticale lijnen door het canvas gebied) de regio "
+"lijken te \"plakken\" aan de tweede. Later kun je deze functie uitschakelen."
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
-msgstr "Omdat we de regio's nu gewoon nog niet precies toevoegen, zet je ze zo dicht mogelijk in het juiste track zonder overlap."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
+msgstr ""
+"Omdat we de regio's nu gewoon nog niet precies toevoegen, zet je ze zo dicht"
+" mogelijk in het juiste track zonder overlap."
#. Tag: title
#, no-c-format
@@ -1516,8 +2648,18 @@ msgstr "De regio's op maat snijden"
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
-msgstr "Nu is het nodig om sommige regio's op maat te snijden. We gaan dit doen door het verwijderen van enkele van de bijna-stille ruimte voor en na het materiaal dat bedoeld was om opgenomen te worden. Er zijn een paar bijzondere gevallen, dus eerst zullen er specifieke instructies hoe je dit doet voor een regio en vervolgens algemene instructies voor elke regio."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
+msgstr ""
+"Nu is het nodig om sommige regio's op maat te snijden. We gaan dit doen door"
+" het verwijderen van enkele van de bijna-stille ruimte voor en na het "
+"materiaal dat bedoeld was om opgenomen te worden. Er zijn een paar "
+"bijzondere gevallen, dus eerst zullen er specifieke instructies hoe je dit "
+"doet voor een regio en vervolgens algemene instructies voor elke regio."
#. Tag: para
#, no-c-format
@@ -1526,63 +2668,177 @@ msgstr "Laten we beginnen met de klarinet:"
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
-msgstr "Stel eerst de klarinet bus in op \"solo\" mode door op de 's' knop in de controle ruimte van de bus te klikken. Hierdoor zullen we alleen de klarinet bus horen."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
+msgstr ""
+"Stel eerst de klarinet bus in op \"solo\" mode door op de 's' knop in de "
+"controle ruimte van de bus te klikken. Hierdoor zullen we alleen de klarinet"
+" bus horen."
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
-msgstr "Luister naar de eerste klarinet regio door op \"Home\" te drukken op het toetsenbord om de afspeelkop van het transport in te stellen op het begin, en druk dan op de spatiebalk om het transport te beginen."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
+msgstr ""
+"Luister naar de eerste klarinet regio door op \"Home\" te drukken op het "
+"toetsenbord om de afspeelkop van het transport in te stellen op het begin, "
+"en druk dan op de spatiebalk om het transport te beginen."
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
-msgstr "Er is ongeveer 20 seconden bijna-stilte voordat de klarinet begint te spelen. Als je zorgvuldig luistert, kun je de ruimte horen en iemand tellen maatnummers telt."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
+msgstr ""
+"Er is ongeveer 20 seconden bijna-stilte voordat de klarinet begint te "
+"spelen. Als je zorgvuldig luistert, kun je de ruimte horen en iemand tellen "
+"maatnummers telt."
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
-msgstr "Als de kanalen niet gesynchroniseerd zijn, moet je hun plaatsing in de tijdlijn aanpassen. Gebruik de gele klok die wordt weergegeven als je regio's versleept - het is ingesteld op dezelfde eenheden als de secundaire klok, en toont je de tijd van het begin van het bestand. Het is belangrijk om het voor de volgende stap gesynchroniseerd te krijgen!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
+msgstr ""
+"Als de kanalen niet gesynchroniseerd zijn, moet je hun plaatsing in de "
+"tijdlijn aanpassen. Gebruik de gele klok die wordt weergegeven als je "
+"regio's versleept - het is ingesteld op dezelfde eenheden als de secundaire "
+"klok, en toont je de tijd van het begin van het bestand. Het is belangrijk "
+"om het voor de volgende stap gesynchroniseerd te krijgen!"
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
-msgstr "Kies de \"L\" of \"R\" regio. Als je Edit Groups gebruikt, het maakt het niet uit welke je kiest, omdat <application>Ardour</application> zal beseffen dat de regio's in beide tracks \"groep equivalent\" zijn (dat wil zeggen, ze zijn in principe hetzelfde, dus zullen ze waarschijnlijk bij elkaar horen)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
+msgstr ""
+"Kies de \"L\" of \"R\" regio. Als je Edit Groups gebruikt, het maakt het "
+"niet uit welke je kiest, omdat <application>Ardour</application> zal "
+"beseffen dat de regio's in beide tracks \"groep equivalent\" zijn (dat wil "
+"zeggen, ze zijn in principe hetzelfde, dus zullen ze waarschijnlijk bij "
+"elkaar horen)."
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
-msgstr "Gebruik de muis om in de gekleurde balk van de regio te klikken, dicht bij waar de klarinet begint."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
+msgstr ""
+"Gebruik de muis om in de gekleurde balk van de regio te klikken, dicht bij "
+"waar de klarinet begint."
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
-msgstr "<application>Ardour</application> zal het begin van de regio in <emphasis>beide tracks</emphasis> automatisch verplaatsen."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
+msgstr ""
+"<application>Ardour</application> zal het begin van de regio in "
+"<emphasis>beide tracks</emphasis> automatisch verplaatsen."
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
-msgstr "Verplaats de afspeelkop door te klikken op de linialen op het punt waar je de afspeelkop wilt hebben, zodat je naar de regio's kan luisteren om ervoor te zorgen dat je geen nuttige audio wegknipt."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
+msgstr ""
+"Verplaats de afspeelkop door te klikken op de linialen op het punt waar je "
+"de afspeelkop wilt hebben, zodat je naar de regio's kan luisteren om ervoor "
+"te zorgen dat je geen nuttige audio wegknipt."
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
-msgstr "Als je het begin van de regio wilt instellen, verplaats je de muis cursor zorgvuldig naar het begin van de regio, in de gekleurde balk. De cursor moet in een twee-puntige links-en-rechts pijl veranderen. Als je toevallig per ongeluk iets van het nuttige klarinet geluid verwijderd, zul je merken dat het er nog is. In feite, het mooie van op deze manier regio's te trimmen is dat het \"niet-destructief\" is, wat betekent dat de gehele oorspronkelijke regio er nog steeds is!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
+msgstr ""
+"Als je het begin van de regio wilt instellen, verplaats je de muis cursor "
+"zorgvuldig naar het begin van de regio, in de gekleurde balk. De cursor moet"
+" in een twee-puntige links-en-rechts pijl veranderen. Als je toevallig per "
+"ongeluk iets van het nuttige klarinet geluid verwijderd, zul je merken dat "
+"het er nog is. In feite, het mooie van op deze manier regio's te trimmen is "
+"dat het \"niet-destructief\" is, wat betekent dat de gehele oorspronkelijke "
+"regio er nog steeds is!"
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
-msgstr "Merk op dat als je de eerste aanpassing gemaakt, <application>Ardour</application> een pijl naast de naam van het gebied in de regio lijst van de sessie zijbalk zet. Als je op de pijl klikt, zul je zien dat er nog een kopie van dezelfde regio onder zit, maar die is wit. <application>Ardour</application> laat je weten dat de wit-gekleurde regio een wijziging is van de blauw-gekleurde regio. Als je de wit-gekleurde regio naar het canvas gebied sleept, zul je merken dat het begint op hetzelfde moment als de regio die je zojuist gewijzigd hebt. Het kan ook uitgesleept worden naar de volledige grootte van de oorspronkelijke regio, wat een andere gewijzigde versie van het origineel zou aanmaken. Hoewel het lijkt alsof <application>Ardour</application> meerdere kopieën van de regio opslaat, slaat het in feite slechts een kopie op en de informatie vereist om te laten lijken dat er meer zijn."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
+msgstr ""
+"Merk op dat als je de eerste aanpassing gemaakt, "
+"<application>Ardour</application> een pijl naast de naam van het gebied in "
+"de regio lijst van de sessie zijbalk zet. Als je op de pijl klikt, zul je "
+"zien dat er nog een kopie van dezelfde regio onder zit, maar die is wit. "
+"<application>Ardour</application> laat je weten dat de wit-gekleurde regio "
+"een wijziging is van de blauw-gekleurde regio. Als je de wit-gekleurde regio"
+" naar het canvas gebied sleept, zul je merken dat het begint op hetzelfde "
+"moment als de regio die je zojuist gewijzigd hebt. Het kan ook uitgesleept "
+"worden naar de volledige grootte van de oorspronkelijke regio, wat een "
+"andere gewijzigde versie van het origineel zou aanmaken. Hoewel het lijkt "
+"alsof <application>Ardour</application> meerdere kopieën van de regio "
+"opslaat, slaat het in feite slechts een kopie op en de informatie vereist om"
+" te laten lijken dat er meer zijn."
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
-msgstr "Pas het einde van de regio zodanig aan dat er niet teveel stilte is na de klarinet. Wees hier extra voorzichtig mee, zodat je niets van de klarinet wegknipt, want die is zeer rustig aan het einde van de regio. Er is niet veel af te snijden! Merk op dat je niet kunt klikken in de gekleurde balk bij het aanpassen van het einde van een regio, dus je zult klikken-en-slepen moeten gebruiken."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
+msgstr ""
+"Pas het einde van de regio zodanig aan dat er niet teveel stilte is na de "
+"klarinet. Wees hier extra voorzichtig mee, zodat je niets van de klarinet "
+"wegknipt, want die is zeer rustig aan het einde van de regio. Er is niet "
+"veel af te snijden! Merk op dat je niet kunt klikken in de gekleurde balk "
+"bij het aanpassen van het einde van een regio, dus je zult klikken-en-slepen"
+" moeten gebruiken."
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
-msgstr "Hier volgen de instructies voor het bewerken van de rest van de regio's. Als je de regio's trimt, kun je het handig vinden om ze allemaal naar het begin van de sessie verplaatsen. Vergeet niet om de bus te veranderen die in \"solo mode\" is als je de verschillende tracks verplaatst, anders kun je de tracks die je probeert te bewerken niet meer horen. Merk ook op dat een aantal van deze regio's dezelfde of bijna dezelfde muziek bevatten, wat we later zullen aanpakken."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
+msgstr ""
+"Hier volgen de instructies voor het bewerken van de rest van de regio's. Als"
+" je de regio's trimt, kun je het handig vinden om ze allemaal naar het begin"
+" van de sessie verplaatsen. Vergeet niet om de bus te veranderen die in "
+"\"solo mode\" is als je de verschillende tracks verplaatst, anders kun je de"
+" tracks die je probeert te bewerken niet meer horen. Merk ook op dat een "
+"aantal van deze regio's dezelfde of bijna dezelfde muziek bevatten, wat we "
+"later zullen aanpakken."
#. Tag: para
#, no-c-format
@@ -1596,8 +2852,12 @@ msgstr "Clarinet_2:"
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
-msgstr "Begint met geluid, maar het is niet nuttig, dus knip het eruit, tezamen met de stilte erna."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
+msgstr ""
+"Begint met geluid, maar het is niet nuttig, dus knip het eruit, tezamen met "
+"de stilte erna."
#. Tag: para
#, no-c-format
@@ -1606,8 +2866,12 @@ msgstr "Het einde heeft een flinke brok stilte om weg te snijden."
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
-msgstr "Clarinet_3, Clarinet_4: de stilte aan het begin en het einde kan verwijderd worden, maar laat de stilte in het midden zitten."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
+msgstr ""
+"Clarinet_3, Clarinet_4: de stilte aan het begin en het einde kan verwijderd "
+"worden, maar laat de stilte in het midden zitten."
#. Tag: para
#, no-c-format
@@ -1616,13 +2880,23 @@ msgstr "Snaren:"
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
-msgstr "Strings_1: Begint met rommelend lawaai, wat niet bedoeld was om vastgelegd te worden. Je kunt het behouden of negeren, wat je wilt - Esther besloot om het erin te houden, en dat zal ik ook doen."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
+msgstr ""
+"Strings_1: Begint met rommelend lawaai, wat niet bedoeld was om vastgelegd "
+"te worden. Je kunt het behouden of negeren, wat je wilt - Esther besloot om "
+"het erin te houden, en dat zal ik ook doen."
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
-msgstr "Strings_2, 3, 4: Stilte aan het begin, maar slechts een beetje aan het einde. Je kunt het gepraat eruit knippen, of dit later behandelen."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
+msgstr ""
+"Strings_2, 3, 4: Stilte aan het begin, maar slechts een beetje aan het "
+"einde. Je kunt het gepraat eruit knippen, of dit later behandelen."
#. Tag: para
#, no-c-format
@@ -1631,18 +2905,32 @@ msgstr "Stem:"
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
-msgstr "Voice_1, 2, 3, 4: Verwijderen gewoon alle stilte van het begin en het einde, waardoor de fouten achterblijven, die we later zullen oplossen."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
+msgstr ""
+"Voice_1, 2, 3, 4: Verwijderen gewoon alle stilte van het begin en het einde,"
+" waardoor de fouten achterblijven, die we later zullen oplossen."
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
-msgstr "ens-Here_Is_How-1, 2, 3: Het is nu te moeilijk om alle extra ruis te trimmen, dus laat het meeste zitten. Het ademen en schuifelen kan later verwijderd worden."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
+msgstr ""
+"ens-Here_Is_How-1, 2, 3: Het is nu te moeilijk om alle extra ruis te "
+"trimmen, dus laat het meeste zitten. Het ademen en schuifelen kan later "
+"verwijderd worden."
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
-msgstr "ens-Create_the_Inconceivable: Behoud nu beide pogingen. Later zullen wij kiezen aan welke we de voorkeur geven."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
+msgstr ""
+"ens-Create_the_Inconceivable: Behoud nu beide pogingen. Later zullen wij "
+"kiezen aan welke we de voorkeur geven."
#. Tag: para
#, no-c-format
@@ -1651,18 +2939,38 @@ msgstr "Marimba:"
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
-msgstr "Marimba_1: Snij niets weg aan het begin van deze regio; we zullen het gebruiken om het begin van de sessie te timen. Je kunt wat stilte op het einde wegknippen, maar wees er zeker van dat je het niet knipt terwijl het geluid van de marimba nog steeds klinkt."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
+msgstr ""
+"Marimba_1: Snij niets weg aan het begin van deze regio; we zullen het "
+"gebruiken om het begin van de sessie te timen. Je kunt wat stilte op het "
+"einde wegknippen, maar wees er zeker van dat je het niet knipt terwijl het "
+"geluid van de marimba nog steeds klinkt."
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
-msgstr "Marimba_2, 3, 4, 5, 6, 7: Trim de stilte rond deze zoals gewenst, wees nog steeds voorzichtig om de marimba niet te knippen terwijl het nog steeds klinkt. Dit kan zorgvuldig luisteren met een hoge volume instelling vereisen."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
+msgstr ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim de stilte rond deze zoals gewenst, wees nog "
+"steeds voorzichtig om de marimba niet te knippen terwijl het nog steeds "
+"klinkt. Dit kan zorgvuldig luisteren met een hoge volume instelling "
+"vereisen."
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
-msgstr "Nu we de stilte rond de audio gedeelten die we echt willen houden ruw weg geknipt hebben, zullen we het gemakkelijker hebben om ze in de juiste volgorde te plaatsen."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
+msgstr ""
+"Nu we de stilte rond de audio gedeelten die we echt willen houden ruw weg "
+"geknipt hebben, zullen we het gemakkelijker hebben om ze in de juiste "
+"volgorde te plaatsen."
#. Tag: title
#, no-c-format
@@ -1671,8 +2979,27 @@ msgstr "Vergelijk meerdere opnames van hetzelfde"
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
-msgstr "Onderdeel van de kracht van opnemen met een DAW is dat hetzelfde materiaal meerdere keren vastgelegd kan worden. Hiermee mixen en overeen laten komen laat ons de \"perfecte\" uitvoering van een stuk muziek uitzoeken. Een paar van de regio's in dit bestand zijn meerdere opnames van hetzelfde materiaal. Er zijn een paar gelegenheden waar we definitief kunnen zeggen dat de ene beter is dan de andere, en er zijn een paar gelegenheden waar het van jouw persoonlijke smaak afhangt. Deze paragraaf behandelt technieken die gebruikt kunnen worden om de audio verder te knippen, in dit geval met het uiteindelijke doel van het vergelijken en kiezen van de gewenste secties. Niet alle keuzes zullen nog gemaakt worden."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
+msgstr ""
+"Onderdeel van de kracht van opnemen met een DAW is dat hetzelfde materiaal "
+"meerdere keren vastgelegd kan worden. Hiermee mixen en overeen laten komen "
+"laat ons de \"perfecte\" uitvoering van een stuk muziek uitzoeken. Een paar "
+"van de regio's in dit bestand zijn meerdere opnames van hetzelfde materiaal."
+" Er zijn een paar gelegenheden waar we definitief kunnen zeggen dat de ene "
+"beter is dan de andere, en er zijn een paar gelegenheden waar het van jouw "
+"persoonlijke smaak afhangt. Deze paragraaf behandelt technieken die gebruikt"
+" kunnen worden om de audio verder te knippen, in dit geval met het "
+"uiteindelijke doel van het vergelijken en kiezen van de gewenste secties. "
+"Niet alle keuzes zullen nog gemaakt worden."
#. Tag: title
#, no-c-format
@@ -1681,13 +3008,30 @@ msgstr "Clarinet_1 en Clarinet_2 regio's"
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
-msgstr "Luister naar de Clarinet_1 en Clarinet_2 regio's. Ze zijn hetzelfde muzikale materiaal, en ze zijn vrijwel identiek, dus het is te vroeg om te beslissen welke te gebruiken. Maar laten we ze labelen zodat we weten dat ze hetzelfde zijn."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
+msgstr ""
+"Luister naar de Clarinet_1 en Clarinet_2 regio's. Ze zijn hetzelfde muzikale"
+" materiaal, en ze zijn vrijwel identiek, dus het is te vroeg om te beslissen"
+" welke te gebruiken. Maar laten we ze labelen zodat we weten dat ze "
+"hetzelfde zijn."
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
-msgstr "Selecteer de \"Clarinet_1--L\" regio in de regio lijst in de sessie werkbalk door links te klikken op het driehoekje links van de blauwe naam, zodat de witte naam verschijnt, en klik eenmaal links op de witte naam. Vergeet niet dat de witte regio gemaakt werd toen je het lege gebied van de oorspronkelijke (blauwe) regio hebt bijgesneden."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
+msgstr ""
+"Selecteer de \"Clarinet_1--L\" regio in de regio lijst in de sessie werkbalk"
+" door links te klikken op het driehoekje links van de blauwe naam, zodat de "
+"witte naam verschijnt, en klik eenmaal links op de witte naam. Vergeet niet "
+"dat de witte regio gemaakt werd toen je het lege gebied van de "
+"oorspronkelijke (blauwe) regio hebt bijgesneden."
#. Tag: para
#, no-c-format
@@ -1726,13 +3070,27 @@ msgstr "\"Clarinet_2--R\" wordt \"Clarinet_1B--R\""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
-msgstr "Omdat Clarinet_1 en Clarinet_2 hetzelfde muzikale materiaal vertegenwoordigen, hebben we ze een nieuwe naam gegeven om dat te laten zien. Nu, zijn ze beide Clarinet_1, met twee versies, \"A\" en \"B\"."
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
+msgstr ""
+"Omdat Clarinet_1 en Clarinet_2 hetzelfde muzikale materiaal "
+"vertegenwoordigen, hebben we ze een nieuwe naam gegeven om dat te laten "
+"zien. Nu, zijn ze beide Clarinet_1, met twee versies, \"A\" en \"B\"."
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
-msgstr "Er zullen nu een paar naamgeving inconsistenties zijn: de blauw-gekleurde regio's hebben nog steeds hun oorspronkelijke namen, en het canvas gebied heeft geen enkel regio met de naam \"Clarinet_2\"! Als dit je stoort, kun je de naam van de andere regio's aan passen."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
+msgstr ""
+"Er zullen nu een paar naamgeving inconsistenties zijn: de blauw-gekleurde "
+"regio's hebben nog steeds hun oorspronkelijke namen, en het canvas gebied "
+"heeft geen enkel regio met de naam \"Clarinet_2\"! Als dit je stoort, kun je"
+" de naam van de andere regio's aan passen."
#. Tag: title
#, no-c-format
@@ -1741,13 +3099,30 @@ msgstr "Clarinet_3 en Clarinet_4 regio's"
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
-msgstr "Luister naar de Clarinet_3 en Clarinet_4 regio's. Clarinet_4 begint met hetzelfde materiaal dat in Clarinet_3 is, en eindigt met hetzelfde materiaal dat in Clarinet_1A en Clarinet_1B is. Verander eerst de naam van de \"Clarinet_3\" regio's naar \"Clarinet_3A\" en de \"Clarinet_4\" regio's naar \"Clarinet_3B.\" Vervolgens extraheren we het Clarinet_1-achtige gedeelte uit de Clarinet_3B regio's."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgstr ""
+"Luister naar de Clarinet_3 en Clarinet_4 regio's. Clarinet_4 begint met "
+"hetzelfde materiaal dat in Clarinet_3 is, en eindigt met hetzelfde materiaal"
+" dat in Clarinet_1A en Clarinet_1B is. Verander eerst de naam van de "
+"\"Clarinet_3\" regio's naar \"Clarinet_3A\" en de \"Clarinet_4\" regio's "
+"naar \"Clarinet_3B.\" Vervolgens extraheren we het Clarinet_1-achtige "
+"gedeelte uit de Clarinet_3B regio's."
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
-msgstr "Selecteer onder de transport werkbalk het \"Select/Move Ranges\" gereedschap wat eruit ziet als een pijl met twee punten van links-naar-rechts en met verticale lijnen aan de zijkanten."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
+msgstr ""
+"Selecteer onder de transport werkbalk het \"Select/Move Ranges\" gereedschap"
+" wat eruit ziet als een pijl met twee punten van links-naar-rechts en met "
+"verticale lijnen aan de zijkanten."
#. Tag: para
#, no-c-format
@@ -1756,58 +3131,117 @@ msgstr "De cursor zal veranderen en lijken op een tekstbewerking \"I\""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
-msgstr "Schuif naar het einde van de \"Clarinet_3B\" regio's, zodat je het deel kan zien dat klinkt als de \"Clarinet_1\" regio's."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
+msgstr ""
+"Schuif naar het einde van de \"Clarinet_3B\" regio's, zodat je het deel kan "
+"zien dat klinkt als de \"Clarinet_1\" regio's."
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
-msgstr "Klik en sleep de muis over de op \"Clarinet_1\" lijkende regio in een van de tracks, om deze te selecteren."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
+msgstr ""
+"Klik en sleep de muis over de op \"Clarinet_1\" lijkende regio in een van de"
+" tracks, om deze te selecteren."
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
-msgstr "Vanwege de edit groep, selecteert <application>Ardour</application> automatisch het zelfde gebied van beide tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
+msgstr ""
+"Vanwege de edit groep, selecteert <application>Ardour</application> "
+"automatisch het zelfde gebied van beide tracks."
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
-msgstr "We moeten er zeker van zijn dat alle op \"Clarinet_1\" lijkende materiaal geselecteerd wordt, dus nadat je een bereik geselecteerd hebt, klik je rechts op de reeks en selecteer je 'Play Range' in het menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
+msgstr ""
+"We moeten er zeker van zijn dat alle op \"Clarinet_1\" lijkende materiaal "
+"geselecteerd wordt, dus nadat je een bereik geselecteerd hebt, klik je "
+"rechts op de reeks en selecteer je 'Play Range' in het menu."
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
-msgstr "Als je het geselecteerde bereik wilt aanpassen, gebruik je de donkere vierkanten op de top hoeken van het reeks-selectie vak. Als je de cursor op een van deze vakken plaatst, verandert deze in een pijl met dubbele uiteinden van links-naar-rechts."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
+msgstr ""
+"Als je het geselecteerde bereik wilt aanpassen, gebruik je de donkere "
+"vierkanten op de top hoeken van het reeks-selectie vak. Als je de cursor op "
+"een van deze vakken plaatst, verandert deze in een pijl met dubbele "
+"uiteinden van links-naar-rechts."
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
-msgstr "Maak nu een nieuwe regio van het bereik. Klik rechts op het geselecteerde bereik en selecteer 'Bounce range to region list' in het menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
+msgstr ""
+"Maak nu een nieuwe regio van het bereik. Klik rechts op het geselecteerde "
+"bereik en selecteer 'Bounce range to region list' in het menu."
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
-msgstr "Het bereik wordt als onafhankelijke regio weergeven in de regio lijst, met een naam lijkend op \"clarinet-L-0-bounce-1\". Dit is niet erg handig, dus we veranderen de naam van de regio's naar \"Clarinet_1C--L\" en \"Clarinet_1C--R\". Merk op dat de nieuwe regio's wit gekleurd zijn."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
+msgstr ""
+"Het bereik wordt als onafhankelijke regio weergeven in de regio lijst, met "
+"een naam lijkend op \"clarinet-L-0-bounce-1\". Dit is niet erg handig, dus "
+"we veranderen de naam van de regio's naar \"Clarinet_1C--L\" en "
+"\"Clarinet_1C--R\". Merk op dat de nieuwe regio's wit gekleurd zijn."
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
-msgstr "We hebben het bereik gereedschap niet meer nodig, dus selecteer het \"Select/Move Objects\" gereedschap, wat een handvormig icoon is links van het bereik gereedschap, onder de transport werkbalk."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
+msgstr ""
+"We hebben het bereik gereedschap niet meer nodig, dus selecteer het "
+"\"Select/Move Objects\" gereedschap, wat een handvormig icoon is links van "
+"het bereik gereedschap, onder de transport werkbalk."
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
-msgstr "Het geselecteerde bereik zal niet langer geselecteerd zijn. Trim het einde van de \"Clarinet_3B\" regio's bij, plak het materiaal van we zojuist naar de regio lijst gebracht hebben, en plak de bijna-stilte ervoor."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
+msgstr ""
+"Het geselecteerde bereik zal niet langer geselecteerd zijn. Trim het einde "
+"van de \"Clarinet_3B\" regio's bij, plak het materiaal van we zojuist naar "
+"de regio lijst gebracht hebben, en plak de bijna-stilte ervoor."
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
-msgstr "Verplaats de \"Clarinet_3\" regio's nu terug, om ruimte te maken voor de nieuw aangemaakte \"Clarinet_1C\" regio's."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
+msgstr ""
+"Verplaats de \"Clarinet_3\" regio's nu terug, om ruimte te maken voor de "
+"nieuw aangemaakte \"Clarinet_1C\" regio's."
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
-msgstr "Sleep de nieuwe \"Clarinet_1C\"-regio's op het canvas na de andere \"Clarinet_1\"-regio's en de pas, indein gewenst, de afstand naar de andere regio's aan."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
+msgstr ""
+"Sleep de nieuwe \"Clarinet_1C\"-regio's op het canvas na de andere "
+"\"Clarinet_1\"-regio's en de pas, indein gewenst, de afstand naar de andere "
+"regio's aan."
#. Tag: title
#, no-c-format
@@ -1816,13 +3250,28 @@ msgstr "Strings_1 regio's"
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
-msgstr "Deze regio's beginnen met het knarsende lawaai dat per ongeluk opgenomen was. Als je besloten hebt om het erin te laten, kun je het overbrengen naar de regio lijst, zodat het onafhankelijk van de strings gecontroleerd kan worden die erop volgen."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
+msgstr ""
+"Deze regio's beginnen met het knarsende lawaai dat per ongeluk opgenomen "
+"was. Als je besloten hebt om het erin te laten, kun je het overbrengen naar "
+"de regio lijst, zodat het onafhankelijk van de strings gecontroleerd kan "
+"worden die erop volgen."
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
-msgstr "De nieuwe regio's worden waarschijnlijk zoiets als \"strings-L-0-bounce-1\" genoemd. Omdat ik weet dat het geluid het verplaatsen van stoelen is over de vloer in een kamer boven de opnamestudio, noem ik ze de regio's \"Chairs--L\" en \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
+msgstr ""
+"De nieuwe regio's worden waarschijnlijk zoiets als \"strings-L-0-bounce-1\" "
+"genoemd. Omdat ik weet dat het geluid het verplaatsen van stoelen is over de"
+" vloer in een kamer boven de opnamestudio, noem ik ze de regio's \"Chairs--"
+"L\" en \"Chairs--R\"."
#. Tag: para
#, no-c-format
@@ -1831,23 +3280,46 @@ msgstr "Verwijder nu het lawaai van de stoelen uit de Strings_1 regio's."
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
-msgstr "Omdat de marimba2 tracks nog niet gebruikt worden, kunnen we de Chairs regio's daar plaatsen - op zijn minst voor nu - om gewoon niet te vergeten dat we ze hebben."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
+msgstr ""
+"Omdat de marimba2 tracks nog niet gebruikt worden, kunnen we de Chairs "
+"regio's daar plaatsen - op zijn minst voor nu - om gewoon niet te vergeten "
+"dat we ze hebben."
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
-msgstr "Luister naar de Strings_1 regio. Je zult merken dat het geluid van de stoelen aanhoudt tijdens de hele regio. We kunnen het later verwijderen."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
+msgstr ""
+"Luister naar de Strings_1 regio. Je zult merken dat het geluid van de "
+"stoelen aanhoudt tijdens de hele regio. We kunnen het later verwijderen."
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
-msgstr "Je zou dit niet weten zonder zorgvuldig naar het lied te luisteren, of zonder de bladmuziek voor \"Here Is How\" te hebben, dus zal ik je het vertellen: de muzikanten maken een fout aan het einde van deze regio, waarom zegt de violist \"sorry\" direct erna."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
+msgstr ""
+"Je zou dit niet weten zonder zorgvuldig naar het lied te luisteren, of "
+"zonder de bladmuziek voor \"Here Is How\" te hebben, dus zal ik je het "
+"vertellen: de muzikanten maken een fout aan het einde van deze regio, waarom"
+" zegt de violist \"sorry\" direct erna."
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
-msgstr "We moeten de fout verwijderen, dus pas het einde van de track ongeveer zes seconden eerder aan. In de canvas view moet je het einde van de regio net voor de voorlaatste \"blob\" leggen."
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
+msgstr ""
+"We moeten de fout verwijderen, dus pas het einde van de track ongeveer zes "
+"seconden eerder aan. In de canvas view moet je het einde van de regio net "
+"voor de voorlaatste \"blob\" leggen."
#. Tag: title
#, no-c-format
@@ -1856,13 +3328,25 @@ msgstr "Strings regio's"
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
-msgstr "Deze vier regio's zijn allemaal verbonden, en het materiaal overlapt tussen hen."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
+msgstr ""
+"Deze vier regio's zijn allemaal verbonden, en het materiaal overlapt tussen "
+"hen."
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
-msgstr "Strings_2 behandelt het meeste van hetzelfde materiaal als Strings_1, en duurt iets langer. Het heeft niet het lawaai van de stoelen, maar er is een speel fout na de eerste minuut en 20 seconden (1:20), dus we kunnen het einde niet gebruiken."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
+msgstr ""
+"Strings_2 behandelt het meeste van hetzelfde materiaal als Strings_1, en "
+"duurt iets langer. Het heeft niet het lawaai van de stoelen, maar er is een "
+"speel fout na de eerste minuut en 20 seconden (1:20), dus we kunnen het "
+"einde niet gebruiken."
#. Tag: para
#, no-c-format
@@ -1877,22 +3361,31 @@ msgstr "Verander de naam van de regio naar \"Strings_1B\""
#. Tag: para
#, no-c-format
msgid "Rename the \"Strings_1\" regions to \"Strings_1A,\" to match with 1B"
-msgstr "Verander de naam van de \"Strings_1\" regio's naar \"Strings_1A,\" om overeen te komen met 1B"
+msgstr ""
+"Verander de naam van de \"Strings_1\" regio's naar \"Strings_1A,\" om "
+"overeen te komen met 1B"
#. Tag: para
#, no-c-format
msgid "We'll decide which of these regions to use later."
-msgstr "We zullen later beslissen welke van deze regio's gebruikt gaan worden."
+msgstr ""
+"We zullen later beslissen welke van deze regio's gebruikt gaan worden."
#. Tag: para
#, no-c-format
msgid "Strings_3 is also the same material, so rename it to \"Strings_1C.\""
-msgstr "Strings_3 is ook hetzelfde materiaal, dus veranderen we de naam naar \"Strings_1C.\""
+msgstr ""
+"Strings_3 is ook hetzelfde materiaal, dus veranderen we de naam naar "
+"\"Strings_1C.\""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
-msgstr "Strings_4 begint op de plaats waar Strings_1A verkeerd ging, en vervolgt vanaf daar. Laten we het voor nu houden zoals het is."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
+msgstr ""
+"Strings_4 begint op de plaats waar Strings_1A verkeerd ging, en vervolgt "
+"vanaf daar. Laten we het voor nu houden zoals het is."
#. Tag: title
#, no-c-format
@@ -1901,98 +3394,191 @@ msgstr "Voice regio's"
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
-msgstr "Deze regio's bevatten enige overlap, maar het is relatief eenvoudig op te lossen."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
+msgstr ""
+"Deze regio's bevatten enige overlap, maar het is relatief eenvoudig op te "
+"lossen."
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
-msgstr "Voice_1 bevat twee brokken audio. De eerste is goed, maar de zanger had een probleem om de tweede helder te maken, dus deze gaan we niet gebruiken."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
+msgstr ""
+"Voice_1 bevat twee brokken audio. De eerste is goed, maar de zanger had een "
+"probleem om de tweede helder te maken, dus deze gaan we niet gebruiken."
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
-msgstr "Voice_2 bevat de tweede brok audio die slecht opgenomen werd in Voice_1. Ze heeft ook een klein probleempje in Voice_2. Laten we dit nu oplossen."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgstr ""
+"Voice_2 bevat de tweede brok audio die slecht opgenomen werd in Voice_1. Ze "
+"heeft ook een klein probleempje in Voice_2. Laten we dit nu oplossen."
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
-msgstr "Trim de Voice_1 regio's om de tweede brok audio te verwijderen, en de bijna-stilte die eraan vooraf gaat."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
+msgstr ""
+"Trim de Voice_1 regio's om de tweede brok audio te verwijderen, en de bijna-"
+"stilte die eraan vooraf gaat."
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
-msgstr "Een manier om te gaan met de Voice_2 regio is gewoon het afsnijden van het eerste deel van de regio, die de woorden \"I have your flax-\" en wat bijna-stilte bevat."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
+msgstr ""
+"Een manier om te gaan met de Voice_2 regio is gewoon het afsnijden van het "
+"eerste deel van de regio, die de woorden \"I have your flax-\" en wat bijna-"
+"stilte bevat."
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
-msgstr "De tweede keer dat de zangeres \"I have your flax-\" zingt, klinkt het een beetje gehaast, dus ga ik de eerste \"I have your flax-\" combineren met de volgende \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
+msgstr ""
+"De tweede keer dat de zangeres \"I have your flax-\" zingt, klinkt het een "
+"beetje gehaast, dus ga ik de eerste \"I have your flax-\" combineren met de "
+"volgende \"golden tails to ... \""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
-msgstr "Gebruik het \"Select/Move Ranges\" gereedschap om de eerste keer dat de zangeres \"I have your flax-\" zingt te selecteren, let er op om het gehele woord \"flax\" te selecteren, maar niets van de bijna stilte die erop volgt."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
+msgstr ""
+"Gebruik het \"Select/Move Ranges\" gereedschap om de eerste keer dat de "
+"zangeres \"I have your flax-\" zingt te selecteren, let er op om het gehele "
+"woord \"flax\" te selecteren, maar niets van de bijna stilte die erop volgt."
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
-msgstr "Gebruik de loop functie van het transport om ervoor te zorgen dat je het juiste bereik geselecteerd hebt:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
+msgstr ""
+"Gebruik de loop functie van het transport om ervoor te zorgen dat je het "
+"juiste bereik geselecteerd hebt:"
#. Tag: para
#, no-c-format
msgid "Select a range, then right-click on the range and select 'loop range'."
-msgstr "Selecteer een bereik, klik dan rechts op het bereik en selecteer 'loop range'."
+msgstr ""
+"Selecteer een bereik, klik dan rechts op het bereik en selecteer 'loop "
+"range'."
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
-msgstr "Als je een aanpassing wilt maken, stoppen dan het transport en pas het bereik naar wens aan."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
+msgstr ""
+"Als je een aanpassing wilt maken, stoppen dan het transport en pas het "
+"bereik naar wens aan."
#. Tag: para
#, no-c-format
msgid "To listen again, right-click on the range and select 'loop range'."
-msgstr "Om opnieuw te luisteren klik je rechts op het bereik en selecteer je 'loop range'."
+msgstr ""
+"Om opnieuw te luisteren klik je rechts op het bereik en selecteer je 'loop "
+"range'."
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
-msgstr "Je moet misschien inzoomen zodat je het bereik met voldoende detail kan aanpassen. Houd de 'Ctrl' toets ingeduwd op het toetsenbord en gebruik het schuifwiel om in te zoomen."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
+msgstr ""
+"Je moet misschien inzoomen zodat je het bereik met voldoende detail kan "
+"aanpassen. Houd de 'Ctrl' toets ingeduwd op het toetsenbord en gebruik het "
+"schuifwiel om in te zoomen."
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
-msgstr "Als je klaar bent met de loops functie, verwijder je de lus markeer tekens uit de tijdlijn. Ze lijken op groene driehoekjes met het woord \"Loop\" ernaast geschreven. Beweeg de cursor over een driehoek, zodat deze van kleur verandert. Druk op de 'Delete' knop op het toetsenbord."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
+msgstr ""
+"Als je klaar bent met de loops functie, verwijder je de lus markeer tekens "
+"uit de tijdlijn. Ze lijken op groene driehoekjes met het woord \"Loop\" "
+"ernaast geschreven. Beweeg de cursor over een driehoek, zodat deze van kleur"
+" verandert. Druk op de 'Delete' knop op het toetsenbord."
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
-msgstr "Als je tevreden bent met het bereik dat je geselecteerd hebt, klik je rechts op het bereik en kies je 'Consolidate range' in het menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
+msgstr ""
+"Als je tevreden bent met het bereik dat je geselecteerd hebt, klik je rechts"
+" op het bereik en kies je 'Consolidate range' in het menu."
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
-msgstr "<application>Ardour</application> zal ter plaatse een regio aanmaken van het bereik dat je geselecteerd hebt. Het zal ook de ruimte in de regio opdelen in voor en na de nieuwe regio, waardoor je met vele kleinere regio's hebt, allemaal gemakkelijk verzameld in de regio lijst van de sessie werkbalk, met de blauw gekleurde \"Voice_2--L\" en \"Voice_2--R\" regio's."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgstr ""
+"<application>Ardour</application> zal ter plaatse een regio aanmaken van het"
+" bereik dat je geselecteerd hebt. Het zal ook de ruimte in de regio opdelen "
+"in voor en na de nieuwe regio, waardoor je met vele kleinere regio's hebt, "
+"allemaal gemakkelijk verzameld in de regio lijst van de sessie werkbalk, met"
+" de blauw gekleurde \"Voice_2--L\" en \"Voice_2--R\" regio's."
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
-msgstr "Trim de rest van de oorspronkelijke Voice_2 regio, zodat het begint met \"golden\", en niets van het vorige woord (\"flax-\") bevat. Je hoeft het range gereedschap niet te gebruiken, maar je kunt dat doen."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
+msgstr ""
+"Trim de rest van de oorspronkelijke Voice_2 regio, zodat het begint met "
+"\"golden\", en niets van het vorige woord (\"flax-\") bevat. Je hoeft het "
+"range gereedschap niet te gebruiken, maar je kunt dat doen."
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
-msgstr "Duw daarna de twee regio's tezamen, zodat het klinkt als \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
+msgstr ""
+"Duw daarna de twee regio's tezamen, zodat het klinkt als \"I have your flax-"
+"golden tails to... \""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
-msgstr "Dit gaat niet perfect klinken, maar je zult dit prefereren boven het eenvoudig weg trimmen van het begin van de Voice_2 regio."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
+msgstr ""
+"Dit gaat niet perfect klinken, maar je zult dit prefereren boven het "
+"eenvoudig weg trimmen van het begin van de Voice_2 regio."
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
-msgstr "Het is belangrijk om er aan te denken om de beide regio's samen te laten gaan. Als ze per ongeluk gescheiden worden, dan kun je ze gemakkelijk genoeg weer op hun plaats zetten."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
+msgstr ""
+"Het is belangrijk om er aan te denken om de beide regio's samen te laten "
+"gaan. Als ze per ongeluk gescheiden worden, dan kun je ze gemakkelijk genoeg"
+" weer op hun plaats zetten."
#. Tag: para
#, no-c-format
@@ -2001,8 +3587,14 @@ msgstr "Voice_3 bevat twee brokken audio. We laten dat nu zoals het is."
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
-msgstr "Voice_4 bevat de dezelfde twee brokken audio als Voice_3, maar duurt langer om meer te omvatten. We kunnen nog niet bepalen of je Voice_3 of Voice_4 voor die twee brokken gaat gebruiken, dus we laten ze in beide regio's."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
+msgstr ""
+"Voice_4 bevat de dezelfde twee brokken audio als Voice_3, maar duurt langer "
+"om meer te omvatten. We kunnen nog niet bepalen of je Voice_3 of Voice_4 "
+"voor die twee brokken gaat gebruiken, dus we laten ze in beide regio's."
#. Tag: title
#, no-c-format
@@ -2012,17 +3604,35 @@ msgstr "ens-Here_Is_How regio's"
#. Tag: para
#, no-c-format
msgid "ens-Here_Is_How-1 contains two chunks of similar audio, both correct."
-msgstr "ens-Here_Is_How-1 bevat twee brokken soortgelijke audio, beide correct."
+msgstr ""
+"ens-Here_Is_How-1 bevat twee brokken soortgelijke audio, beide correct."
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
-msgstr "ens-Here_Is_How-2 bevat twee brokken soortgelijke audio. Het is verschillend van ens-Here_Is_How-1, maar de tweede van deze brokken heeft onjuiste toonhoogtes, maar de timing tussen de twee brokken is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
+msgstr ""
+"ens-Here_Is_How-2 bevat twee brokken soortgelijke audio. Het is verschillend"
+" van ens-Here_Is_How-1, maar de tweede van deze brokken heeft onjuiste "
+"toonhoogtes, maar de timing tussen de twee brokken is correct."
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
-msgstr "* ens-Here_Is_How-3 bevat de tweede brok audio van ens-Here_Is_How-2, met de juiste toonhoogtes. Omdat we de juiste timing van ens-Here_Is_How-2 willen behouden, sleep je ens-Here_Is_How-3 eenvoudig over ens-Here_Is_How-2. Lijn de regio's uit zodat de golfvorm van -3 is zo dicht mogelijk licht bij die van -2. Deze regio's moeten ook zorgvuldig tezamen verplaatst worden."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
+msgstr ""
+"* ens-Here_Is_How-3 bevat de tweede brok audio van ens-Here_Is_How-2, met de"
+" juiste toonhoogtes. Omdat we de juiste timing van ens-Here_Is_How-2 willen "
+"behouden, sleep je ens-Here_Is_How-3 eenvoudig over ens-Here_Is_How-2. Lijn "
+"de regio's uit zodat de golfvorm van -3 is zo dicht mogelijk licht bij die "
+"van -2. Deze regio's moeten ook zorgvuldig tezamen verplaatst worden."
#. Tag: title
#, no-c-format
@@ -2036,23 +3646,43 @@ msgstr "Er zijn twee opnames van hetzelfde materiaal in deze regio."
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
-msgstr "Luister naar beide en beslis aan welke je de voorkeur geeft - het is jouw keuze. Denk eraan dat je jouw keuze later kunt veranderen, omdat <application>Ardour</application> geen materiaal zal verwijderen dat jij verwijdert met het trimmen van de regio."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
+msgstr ""
+"Luister naar beide en beslis aan welke je de voorkeur geeft - het is jouw "
+"keuze. Denk eraan dat je jouw keuze later kunt veranderen, omdat "
+"<application>Ardour</application> geen materiaal zal verwijderen dat jij "
+"verwijdert met het trimmen van de regio."
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
-msgstr "Gebruik het range gereedschap om het bereik te selecteren die de opname bevat die jij verkiest."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
+msgstr ""
+"Gebruik het range gereedschap om het bereik te selecteren die de opname "
+"bevat die jij verkiest."
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
-msgstr "Gebruik het loop mechanisme van het transport, als je dat wilt, om er zeker van dat je het juiste bereik geselecteerd hebt."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
+msgstr ""
+"Gebruik het loop mechanisme van het transport, als je dat wilt, om er zeker "
+"van dat je het juiste bereik geselecteerd hebt."
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
-msgstr "Klik rechts op de bereik en kies 'Crop region to range', wat de regio automatisch voor jou zal trimmen."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
+msgstr ""
+"Klik rechts op de bereik en kies 'Crop region to range', wat de regio "
+"automatisch voor jou zal trimmen."
#. Tag: title
#, no-c-format
@@ -2071,13 +3701,33 @@ msgstr "Arrangeer de regio's op de juiste plaats"
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
-msgstr "We gaan beginnen met her arrangeren van de marimba, omdat het een relatief consistent ritme speelt tijdens het grootste deel van het lied. Het is een goed idee om met zoiets te beginnen, zodat de volgende tracks en regio's eraan gerelateerd kunnen worden."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
+msgstr ""
+"We gaan beginnen met her arrangeren van de marimba, omdat het een relatief "
+"consistent ritme speelt tijdens het grootste deel van het lied. Het is een "
+"goed idee om met zoiets te beginnen, zodat de volgende tracks en regio's "
+"eraan gerelateerd kunnen worden."
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
-msgstr "Alle tijd wordt hier opgegeven in minuten en seconden. Het handleiding bestand is standaard voor het gebruik van deze eenheid geconfigureerd, maar als je het veranderd hebt, moet je dat in gedachten houden. Bovendien heb ik de \"Marimba_1\" regio niet afgesneden of getrimd, en bevindt het zich in de \"marimba1\" track, te beginnen bij 00:00:00.000. Als je de regio veranderd hebt, stel ik voor om de oorspronkelijke grootte te herstellen."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
+msgstr ""
+"Alle tijd wordt hier opgegeven in minuten en seconden. Het handleiding "
+"bestand is standaard voor het gebruik van deze eenheid geconfigureerd, maar "
+"als je het veranderd hebt, moet je dat in gedachten houden. Bovendien heb ik"
+" de \"Marimba_1\" regio niet afgesneden of getrimd, en bevindt het zich in "
+"de \"marimba1\" track, te beginnen bij 00:00:00.000. Als je de regio "
+"veranderd hebt, stel ik voor om de oorspronkelijke grootte te herstellen."
#. Tag: title
#, no-c-format
@@ -2086,83 +3736,177 @@ msgstr "Begin met de marimba regio's"
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
-msgstr "Als je ervoor zorgt dat de \"Marimba_1\" regio's niet afgesneden of getrimd worden, en dat ze starten op 00:00:00.000, kunnen we het op zijn plaats vergrendelen."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgstr ""
+"Als je ervoor zorgt dat de \"Marimba_1\" regio's niet afgesneden of getrimd "
+"worden, en dat ze starten op 00:00:00.000, kunnen we het op zijn plaats "
+"vergrendelen."
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
-msgstr "Klik rechts op de regio's, en ga naar het 'Selected regions' menu en klik vervolgens op 'Lock' in dat menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
+msgstr ""
+"Klik rechts op de regio's, en ga naar het 'Selected regions' menu en klik "
+"vervolgens op 'Lock' in dat menu."
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
-msgstr "Merk op dat <application>Ardour</application> > en < plaatst om de naam van de regio in het canvas gebied."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
+msgstr ""
+"Merk op dat <application>Ardour</application> > en < plaatst om de "
+"naam van de regio in het canvas gebied."
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
-msgstr "Merk ook op dat je de regio niet meer kunt verplaatsen met het \"Select/Move Objects\" gereedschap."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
+msgstr ""
+"Merk ook op dat je de regio niet meer kunt verplaatsen met het \"Select/Move"
+" Objects\" gereedschap."
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
-msgstr "Plaats nu een marker om het precieze tijd stip dat het begint weer te geven: zes seconden in de sessie."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
+msgstr ""
+"Plaats nu een marker om het precieze tijd stip dat het begint weer te geven:"
+" zes seconden in de sessie."
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
-msgstr "Zoom in zodat je kunt zien waar de zes seconden marker op de liniaal geplaatst moet worden (maar je hoeft het nog niet te zien). Houd de 'Ctrl' toets ingeduwd op het toetsenbord en gebruik het schuifwiel van de muis om in te zoomen, of druk op de '=' toets op het toetsenbord om in te zoomen en de '-' toets om uit te zoomen."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
+msgstr ""
+"Zoom in zodat je kunt zien waar de zes seconden marker op de liniaal "
+"geplaatst moet worden (maar je hoeft het nog niet te zien). Houd de 'Ctrl' "
+"toets ingeduwd op het toetsenbord en gebruik het schuifwiel van de muis om "
+"in te zoomen, of druk op de '=' toets op het toetsenbord om in te zoomen en "
+"de '-' toets om uit te zoomen."
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
-msgstr "Verplaats de cursor ongeveer naar de zes seconden marker (nogmaals, het is nog niet belangrijk om precies te zijn) en klik rechts in de \"Location Markers\" rij. Selecteer 'New location marker' in het menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
+msgstr ""
+"Verplaats de cursor ongeveer naar de zes seconden marker (nogmaals, het is "
+"nog niet belangrijk om precies te zijn) en klik rechts in de \"Location "
+"Markers\" rij. Selecteer 'New location marker' in het menu."
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
-msgstr "Klik en sleep de geel-groene pijl die verschijnt, zodat de gele klok 00:00:06.000 toont, wat precies zes seconden aangeeft. Laat de muisknop los."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgstr ""
+"Klik en sleep de geel-groene pijl die verschijnt, zodat de gele klok "
+"00:00:06.000 toont, wat precies zes seconden aangeeft. Laat de muisknop los."
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
-msgstr "Verplaats de cursor over de marker, zodat de kleur verandert van geel-groen naar een rode kleur (koraalrood). Klik rechts en selecteer 'Lock' in het menu, zodat de marker niet per ongeluk verplaatst kan worden."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
+msgstr ""
+"Verplaats de cursor over de marker, zodat de kleur verandert van geel-groen "
+"naar een rode kleur (koraalrood). Klik rechts en selecteer 'Lock' in het "
+"menu, zodat de marker niet per ongeluk verplaatst kan worden."
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
-msgstr "Klik opnieuw rechts terwijl de cursor boven de marker is. Selecteer 'Rename' in het menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
+msgstr ""
+"Klik opnieuw rechts terwijl de cursor boven de marker is. Selecteer 'Rename'"
+" in het menu."
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
-msgstr "Een klein venster zal verschijnen. Schrijf de naam van de marker, \"marimba-start\" en klik op 'Rename' om de nieuwe naam in te stellen."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
+msgstr ""
+"Een klein venster zal verschijnen. Schrijf de naam van de marker, \"marimba-"
+"start\" en klik op 'Rename' om de nieuwe naam in te stellen."
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
-msgstr "Omdat wij het plaatsen van de regio's in de tijdlijn heel precies willen aanpassen, moeten een andere \"Snap/Grid mode\" gebruiken. Iedere instelling is nuttig voor een ander soort taak."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
+msgstr ""
+"Omdat wij het plaatsen van de regio's in de tijdlijn heel precies willen "
+"aanpassen, moeten een andere \"Snap/Grid mode\" gebruiken. Iedere instelling"
+" is nuttig voor een ander soort taak."
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
-msgstr "We kunnen de mode veranderen met de werkbalk vlak boven het canvas. De pop-down menu zegt waarschijnlijk \"Magnetic\" wat aangeeft dat het in de \"Magnetic Snapping mode\" is, maar het kan ook \"No Grid\" of \"Grid\" zeggen."
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgstr ""
+"We kunnen de mode veranderen met de werkbalk vlak boven het canvas. De pop-"
+"down menu zegt waarschijnlijk \"Magnetic\" wat aangeeft dat het in de "
+"\"Magnetic Snapping mode\" is, maar het kan ook \"No Grid\" of \"Grid\" "
+"zeggen."
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
-msgstr "No grid: Deze mode geeft de gebruiker volledige controle over waar een regio geplaatst zal worden. Het is nuttig voor het uitvoeren van zeer nauwkeurige uitlijning, wat wij op het punt staan te doen."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
+msgstr ""
+"No grid: Deze mode geeft de gebruiker volledige controle over waar een regio"
+" geplaatst zal worden. Het is nuttig voor het uitvoeren van zeer nauwkeurige"
+" uitlijning, wat wij op het punt staan te doen."
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
-msgstr "Grid: Deze mode laat de gebruiker alleen regio's plaatsen waarbij ze beginnen op een raster-lijn. Tenzij je het veranderd hebt, is het raster ingesteld op twee seconden, dus kun je regio's alleen laten beginnen in intervallen van twee seconden - <application>Ardour</application> zal je niet toestaat om een regio te starten op een oneven seconde, of er ergens tussenin."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
+msgstr ""
+"Grid: Deze mode laat de gebruiker alleen regio's plaatsen waarbij ze "
+"beginnen op een raster-lijn. Tenzij je het veranderd hebt, is het raster "
+"ingesteld op twee seconden, dus kun je regio's alleen laten beginnen in "
+"intervallen van twee seconden - <application>Ardour</application> zal je "
+"niet toestaat om een regio te starten op een oneven seconde, of er ergens "
+"tussenin."
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
-msgstr "Magnetic: Deze mode laat de gebruiker een regio waar hij wil, maar als het begin van de regio in de buurt van een raster-lijn komt (een even genummerde seconde in deze sessie), zal het begin van de regio zal automatisch naar dat punt \"snappen\". Het gedraagt zich alsof de start van de regio's magnetisch aangetrokken worden tot de raster lijnen."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
+msgstr ""
+"Magnetic: Deze mode laat de gebruiker een regio waar hij wil, maar als het "
+"begin van de regio in de buurt van een raster-lijn komt (een even genummerde"
+" seconde in deze sessie), zal het begin van de regio zal automatisch naar "
+"dat punt \"snappen\". Het gedraagt zich alsof de start van de regio's "
+"magnetisch aangetrokken worden tot de raster lijnen."
#. Tag: para
#, no-c-format
@@ -2171,43 +3915,96 @@ msgstr "Pas de snap/grid mode aan op \"No Grid\"."
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
-msgstr "Verplaats de \"Marimba_2\" regio's zodat zij in de \"marimba2\" tracks zijn, zodanig dat het geluid in \"Marimba_2\" begint bij ongeveer 15 seconden (00:00:15.000) op de tijdlijn. Je moet het slepen van de stoelen uit de weg halen, als je besloten hebt om dit te houden. Verplaats het naar de \"strings\" tracks, voor de \"Strings\" regio's."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
+msgstr ""
+"Verplaats de \"Marimba_2\" regio's zodat zij in de \"marimba2\" tracks zijn,"
+" zodanig dat het geluid in \"Marimba_2\" begint bij ongeveer 15 seconden "
+"(00:00:15.000) op de tijdlijn. Je moet het slepen van de stoelen uit de weg "
+"halen, als je besloten hebt om dit te houden. Verplaats het naar de "
+"\"strings\" tracks, voor de \"Strings\" regio's."
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
-msgstr "Zorg ervoor dat zowel de \"marimba1\" als \"marimba2\" bussen in solo modus zijn, zodat je ze beide kunt horen."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
+msgstr ""
+"Zorg ervoor dat zowel de \"marimba1\" als \"marimba2\" bussen in solo modus "
+"zijn, zodat je ze beide kunt horen."
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
-msgstr "Nu komt het moeilijke deel: je zult de twee sporen moeten uitlijnen, zodat ze samen beginnen."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
+msgstr ""
+"Nu komt het moeilijke deel: je zult de twee sporen moeten uitlijnen, zodat "
+"ze samen beginnen."
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
-msgstr "Het geluid in de \"Marimba_2\" regio's moet beginnen op hetzelfde moment als het tweede patroon in de \"Marimba_1\" tracks, welke zich op ongeveer 15 seconden op de tijdlijn bevindt."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
+msgstr ""
+"Het geluid in de \"Marimba_2\" regio's moet beginnen op hetzelfde moment als"
+" het tweede patroon in de \"Marimba_1\" tracks, welke zich op ongeveer 15 "
+"seconden op de tijdlijn bevindt."
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
-msgstr "U zult moeten inzoomen - het helpt om de golfvorm van de regio's te kunnen zien. Nog belangrijker, door in te zoomen kun je de plaatsing van de regio's met een grotere nauwkeurigheid aanpassen."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
+msgstr ""
+"U zult moeten inzoomen - het helpt om de golfvorm van de regio's te kunnen "
+"zien. Nog belangrijker, door in te zoomen kun je de plaatsing van de regio's"
+" met een grotere nauwkeurigheid aanpassen."
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
-msgstr "Je kunt een bereik te selecteren en de loop mode van het transport gebruiken. Dit laat je het begin van de regio's steeds weer opnieuw horen, om ervoor te zorgen dat ze uitgelijnd zijn."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
+msgstr ""
+"Je kunt een bereik te selecteren en de loop mode van het transport "
+"gebruiken. Dit laat je het begin van de regio's steeds weer opnieuw horen, "
+"om ervoor te zorgen dat ze uitgelijnd zijn."
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
-msgstr "Als u het gevoel hebt dat je er dicht bent, maar niet helemaal samen, probeer dan het ver weg te verplaatsen, luisteren, dan het opnieuw dichter bij elkaar te plaatsen."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
+msgstr ""
+"Als u het gevoel hebt dat je er dicht bent, maar niet helemaal samen, "
+"probeer dan het ver weg te verplaatsen, luisteren, dan het opnieuw dichter "
+"bij elkaar te plaatsen."
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
-msgstr "Zodra je de eerste paar seconden van dit patroon uitgelijnd hebt, zal het eventueel niet gesynchroniseerd raken, dat is geen probleem. Het begin is het meest merkbare onderdeel; als de luisteraars gewend raken aan het geluid van de twee marimba tracks tezamen, zullen ze ophouden met bijzondere aandacht. Bovendien zijn ze waarschijnlijk gefocusseerd op de woorden tegen de tijd dat de marimba tracks niet-synchroon worden."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
+msgstr ""
+"Zodra je de eerste paar seconden van dit patroon uitgelijnd hebt, zal het "
+"eventueel niet gesynchroniseerd raken, dat is geen probleem. Het begin is "
+"het meest merkbare onderdeel; als de luisteraars gewend raken aan het geluid"
+" van de twee marimba tracks tezamen, zullen ze ophouden met bijzondere "
+"aandacht. Bovendien zijn ze waarschijnlijk gefocusseerd op de woorden tegen "
+"de tijd dat de marimba tracks niet-synchroon worden."
#. Tag: para
#, no-c-format
@@ -2216,18 +4013,36 @@ msgstr "Vergeet niet om de \"Marimba_2\" regio te vergrendelen!"
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
-msgstr "Luister naar de rest van de regio's tezamen. Het einde van de regio's, bij over 00:02:20.000, moeten uitgelijnd zijn, als je het begin correct uitgelijnd hebt. De hogere en lagere marimba's zullen afwisselen."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
+msgstr ""
+"Luister naar de rest van de regio's tezamen. Het einde van de regio's, bij "
+"over 00:02:20.000, moeten uitgelijnd zijn, als je het begin correct "
+"uitgelijnd hebt. De hogere en lagere marimba's zullen afwisselen."
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
-msgstr "Verplaats de \"Marimba_3\" regio's zodat ze op ongeveer 00:03:20.000 beginnen, met \"Marmiba_3\" in \"marimba1 tracks. We zullen later een definitieve uitlijning zoeken."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
+msgstr ""
+"Verplaats de \"Marimba_3\" regio's zodat ze op ongeveer 00:03:20.000 "
+"beginnen, met \"Marmiba_3\" in \"marimba1 tracks. We zullen later een "
+"definitieve uitlijning zoeken."
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
-msgstr "Verplaats de \"Marimba_4\" regio's zodat ze op ongeveer dezelfde tijd beginnen als de \"Marimba_3\"-regio's, maar in de \"marimba2 tracks. Wij zullen later een definitieve uitlijning zoeken."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
+msgstr ""
+"Verplaats de \"Marimba_4\" regio's zodat ze op ongeveer dezelfde tijd "
+"beginnen als de \"Marimba_3\"-regio's, maar in de \"marimba2 tracks. Wij "
+"zullen later een definitieve uitlijning zoeken."
#. Tag: title
#, no-c-format
@@ -2236,53 +4051,110 @@ msgstr "Ga verder met de Voice regio's"
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
-msgstr "In deze paragraaf moet je niet-geplaatste regio's uit de weg schuiven, verder de sessie is, zodat ze niet interfereren met het uitlijning proces. Vergeet niet om de regio's te vergrendelen zodra je ze geplaatst hebt. Ze kunnen later ontgrendeld en opnieuw uitgelijnd worden, als je daarvoor kiest. Tot slot zal het helpen als je een marker plaatst (zoals de \"marimba-start\" marker die we eerder geplaatst hebben) waar elke regio zal beginnen. Als je u een marker plaatst, kun je erop klikken, en de blauwe plaats-marker verplaatsten. Dit zal je helpen om het begin van het geluid in een regio uit te lijnen met de plaats waar je het wilt hebben."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
+msgstr ""
+"In deze paragraaf moet je niet-geplaatste regio's uit de weg schuiven, "
+"verder de sessie is, zodat ze niet interfereren met het uitlijning proces. "
+"Vergeet niet om de regio's te vergrendelen zodra je ze geplaatst hebt. Ze "
+"kunnen later ontgrendeld en opnieuw uitgelijnd worden, als je daarvoor "
+"kiest. Tot slot zal het helpen als je een marker plaatst (zoals de "
+"\"marimba-start\" marker die we eerder geplaatst hebben) waar elke regio zal"
+" beginnen. Als je u een marker plaatst, kun je erop klikken, en de blauwe "
+"plaats-marker verplaatsten. Dit zal je helpen om het begin van het geluid in"
+" een regio uit te lijnen met de plaats waar je het wilt hebben."
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
-msgstr "Zet de \"solo\" mode aan op de \"voice\" bus, zodat je het kunt horen tezamen met de marimba bussen."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
+msgstr ""
+"Zet de \"solo\" mode aan op de \"voice\" bus, zodat je het kunt horen "
+"tezamen met de marimba bussen."
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
-msgstr "Schuif de \"Voice_1\" regio's zodat de zangeres begint op ongeveer dezelfde tijd als de hogere marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
+msgstr ""
+"Schuif de \"Voice_1\" regio's zodat de zangeres begint op ongeveer dezelfde "
+"tijd als de hogere marimba."
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
-msgstr "Schuif de \"Voice_2\" regio's zodat de zangeres begint op ongeveer <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
+msgstr ""
+"Schuif de \"Voice_2\" regio's zodat de zangeres begint op ongeveer "
+"<literal>00:00:48.00</literal>"
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
-msgstr "Schuif de \"ens-Here_Is_How-1\" regio's zodat ze beginnen met zingen op ongeveer <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
+msgstr ""
+"Schuif de \"ens-Here_Is_How-1\" regio's zodat ze beginnen met zingen op "
+"ongeveer <literal>00:01:33.300</literal>"
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
-msgstr "Schuif de \"ens-Here_Is_How-2\" (en de aparte \"ens-Here_Is_How-3\") regio's zodat ze beginnen met zingen op ongeveer <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgstr ""
+"Schuif de \"ens-Here_Is_How-2\" (en de aparte \"ens-Here_Is_How-3\") regio's"
+" zodat ze beginnen met zingen op ongeveer <literal>00:02:11.500</literal>"
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
-msgstr "Na het meer aandacht geven aan \"Voice_3\" en \"Voice_4\", realiseer je dat de zangeres een woord mist (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Omdat \"Voice_3\" het tweede deel van \"Voice_4\" niet bevat, moeten we de \"Voice_4\" regio trimmen, en beide gebruiken."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgstr ""
+"Na het meer aandacht geven aan \"Voice_3\" en \"Voice_4\", realiseer je dat "
+"de zangeres een woord mist (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Omdat \"Voice_3\" het tweede deel van \"Voice_4\" "
+"niet bevat, moeten we de \"Voice_4\" regio trimmen, en beide gebruiken."
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
-msgstr "De zangeres moet beginnen met zingen in \"Voice_3\" op ongeveer <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
+msgstr ""
+"De zangeres moet beginnen met zingen in \"Voice_3\" op ongeveer "
+"<literal>00:02:24.500</literal>"
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
-msgstr "De zangeres moet beginnen met \"and here is how\" zingen in \"Voice_4\" op ongeveer <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
+msgstr ""
+"De zangeres moet beginnen met \"and here is how\" zingen in \"Voice_4\" op "
+"ongeveer <literal>00:02:43.000</literal>"
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
-msgstr "Schuif de \"ens-Create_the_Inconceivable\" regio's zodat ze beginnen met zingen op ongeveer <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
+msgstr ""
+"Schuif de \"ens-Create_the_Inconceivable\" regio's zodat ze beginnen met "
+"zingen op ongeveer <literal>00:02:59.000</literal>"
#. Tag: title
#, no-c-format
@@ -2291,38 +4163,81 @@ msgstr "Lijn de marimba uit aan het einde"
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
-msgstr "Nu dat we alle regio's van de zangers grof geplaatst hebben, kunnen we achterhalen waar we de afsluitende marimba passage moeten plaatsen."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
+msgstr ""
+"Nu dat we alle regio's van de zangers grof geplaatst hebben, kunnen we "
+"achterhalen waar we de afsluitende marimba passage moeten plaatsen."
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
-msgstr "Luister naar de \"ens-Create_the_Inconceivable\" regio's. We gaan de marimba eind regio's ergens beginnen nadat de hoogste zangeres heeft gezegd \"if you know what I mean\", maar voordat ze stopt met het zingen van het woord \"mean\"."
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgstr ""
+"Luister naar de \"ens-Create_the_Inconceivable\" regio's. We gaan de marimba"
+" eind regio's ergens beginnen nadat de hoogste zangeres heeft gezegd \"if "
+"you know what I mean\", maar voordat ze stopt met het zingen van het woord "
+"\"mean\"."
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
-msgstr "Het is aan jou waar de marimba opnieuw gestart wordt. Kies een plaats, en verplaats de twee \"Marimba_3\" regio's naar die plaats in de \"marimba1\" bus, en de \"Marimba_4\" regio in de \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
+msgstr ""
+"Het is aan jou waar de marimba opnieuw gestart wordt. Kies een plaats, en "
+"verplaats de twee \"Marimba_3\" regio's naar die plaats in de \"marimba1\" "
+"bus, en de \"Marimba_4\" regio in de \"marimba2\" bus."
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
-msgstr "Mogelijk moet je een bereik instellen en de loop functie van het transport gebruiken om de exacte uitlijning te krijgen."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
+msgstr ""
+"Mogelijk moet je een bereik instellen en de loop functie van het transport "
+"gebruiken om de exacte uitlijning te krijgen."
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
-msgstr "Deze stap gaat moeilijk worden, omdat de lage marimba rustig binnenkomt en in volume toeneemt, terwijl de hogere marimba heeft een harde klap heeft die uitsterft. Dit betekent dat, als je beide marimba tracks op hetzelfde moment start, de luisteraar de lagere track zal ervaren als opgestart na de hogere track. Als je me niet gelooft, probeer het maar uit!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
+msgstr ""
+"Deze stap gaat moeilijk worden, omdat de lage marimba rustig binnenkomt en "
+"in volume toeneemt, terwijl de hogere marimba heeft een harde klap heeft die"
+" uitsterft. Dit betekent dat, als je beide marimba tracks op hetzelfde "
+"moment start, de luisteraar de lagere track zal ervaren als opgestart na de "
+"hogere track. Als je me niet gelooft, probeer het maar uit!"
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
-msgstr "Om dit probleem op te lossen, liet de oorspronkelijke editor (Esther) de bovenste marimba iets later beginnen dan de lagere marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
+msgstr ""
+"Om dit probleem op te lossen, liet de oorspronkelijke editor (Esther) de "
+"bovenste marimba iets later beginnen dan de lagere marimba."
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
-msgstr "Als je naar de sessie tot nu toe zou luisteren, zou je opmerken dat de marimba veel te luid is in vergelijking met de zangers, en dat alles klinkt erg smal klinkt. Dit komt omdat we bent alleen regio's arrangeren en we nog geen mixen uitgevoerd hebben!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
+msgstr ""
+"Als je naar de sessie tot nu toe zou luisteren, zou je opmerken dat de "
+"marimba veel te luid is in vergelijking met de zangers, en dat alles klinkt "
+"erg smal klinkt. Dit komt omdat we bent alleen regio's arrangeren en we nog "
+"geen mixen uitgevoerd hebben!"
#. Tag: title
#, no-c-format
@@ -2331,18 +4246,39 @@ msgstr "Lijn de string regio's uit"
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
-msgstr "Schuif de \"Strings_1A\" regio's zodat ze beginnen met spelen bij ongeveer 00:00:28.00, wat genoeg ruimte moet overlaten voor het geluid van de stoelen, als je besloten hebt om het erin te houden."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
+msgstr ""
+"Schuif de \"Strings_1A\" regio's zodat ze beginnen met spelen bij ongeveer "
+"00:00:28.00, wat genoeg ruimte moet overlaten voor het geluid van de "
+"stoelen, als je besloten hebt om het erin te houden."
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
-msgstr "De \"Strings_4\" regio begint op dezelfde manier als de \"Strings_1A\" regio eindigt. Luister naar beide, en kies welke u prefereert, en gebruik dab de positie van de geluiden in de \"Strings_1A\" regio om jouw trimmen en uitlijnen van de \"Strings_4\" regio te sturen."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
+msgstr ""
+"De \"Strings_4\" regio begint op dezelfde manier als de \"Strings_1A\" regio"
+" eindigt. Luister naar beide, en kies welke u prefereert, en gebruik dab de "
+"positie van de geluiden in de \"Strings_1A\" regio om jouw trimmen en "
+"uitlijnen van de \"Strings_4\" regio te sturen."
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
-msgstr "De andere twee strings regio's bevatten hetzelfde muzikale materiaal als de \"Strings_1a\" regio. Wij kunnen nog niet tussen kiezen, dus verplaats ze allebei voorbij het einde van de afsluitende marimba regio's, zodat ze niet gehoord zullen worden."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
+msgstr ""
+"De andere twee strings regio's bevatten hetzelfde muzikale materiaal als de "
+"\"Strings_1a\" regio. Wij kunnen nog niet tussen kiezen, dus verplaats ze "
+"allebei voorbij het einde van de afsluitende marimba regio's, zodat ze niet "
+"gehoord zullen worden."
#. Tag: title
#, no-c-format
@@ -2351,18 +4287,32 @@ msgstr "Lijn de klarinet regio's uit"
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
-msgstr "Net als bij de strings regio's, zullen we gewoon een geschikte klarinet regio kiezen en naar zijn plaats verhuizen, en stellen we de keuze tussen veelvouden uit naar later. Als je regio's over zo'n lange afstand verplaatst, helpt het om een beetje uit te zoomen."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
+msgstr ""
+"Net als bij de strings regio's, zullen we gewoon een geschikte klarinet "
+"regio kiezen en naar zijn plaats verhuizen, en stellen we de keuze tussen "
+"veelvouden uit naar later. Als je regio's over zo'n lange afstand "
+"verplaatst, helpt het om een beetje uit te zoomen."
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
-msgstr "Schuif de \"Clarinet_1A\" regio zodat het geluid net na 00:01:06.200 begint"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
+msgstr ""
+"Schuif de \"Clarinet_1A\" regio zodat het geluid net na 00:01:06.200 begint"
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
-msgstr "Schuif de \"Clarinet_3A\" regio zodat het geluid net na 00:01:35.000 begint"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
+msgstr ""
+"Schuif de \"Clarinet_3A\" regio zodat het geluid net na 00:01:35.000 begint"
#. Tag: title
#, no-c-format
@@ -2371,8 +4321,16 @@ msgstr "Luisteren"
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
-msgstr "Voordat je naar het mixen stadium gaat, luister je naar het hele lied, om ervoor te zorgen dat de volgorde zinvol is. Als je luistert, denk er dan aan dat de volumeniveaus en balans niet goed klinkt, en dat de hele sessie nog erg \"centraal\" in het stereobeeld zal klinken."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
+msgstr ""
+"Voordat je naar het mixen stadium gaat, luister je naar het hele lied, om "
+"ervoor te zorgen dat de volgorde zinvol is. Als je luistert, denk er dan aan"
+" dat de volumeniveaus en balans niet goed klinkt, en dat de hele sessie nog "
+"erg \"centraal\" in het stereobeeld zal klinken."
#. Tag: title
#, no-c-format
@@ -2381,18 +4339,59 @@ msgstr "Een lied mixen (handleiding)"
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
-msgstr "De volgende fase wordt \"mixen\" genoemd, en gaat hoofdzakelijk om twee taken: volumeniveaus instellen en de stereo pan instellingen aanpassen. We zullen automatisering gebruiken om onze fader en pan aanpassingen op te slaan, en we zullen zien hoe handig het kan zijn om de linker en rechter kanalen op aparte tracks op te nemen, gecombineerd met sub-master bussen."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
+msgstr ""
+"De volgende fase wordt \"mixen\" genoemd, en gaat hoofdzakelijk om twee "
+"taken: volumeniveaus instellen en de stereo pan instellingen aanpassen. We "
+"zullen automatisering gebruiken om onze fader en pan aanpassingen op te "
+"slaan, en we zullen zien hoe handig het kan zijn om de linker en rechter "
+"kanalen op aparte tracks op te nemen, gecombineerd met sub-master bussen."
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
-msgstr "In de terminologie van het produceren een opname van een live muzikale uitvoering, is het het mixen stadium waar de audio ingenieur (in dit geval jij) de meeste creatieve invloed heeft. Zorgvuldig aanpassen en afstemmen van de tracks zal grote invloed hebben op de luisterervaring."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
+msgstr ""
+"In de terminologie van het produceren een opname van een live muzikale "
+"uitvoering, is het het mixen stadium waar de audio ingenieur (in dit geval "
+"jij) de meeste creatieve invloed heeft. Zorgvuldig aanpassen en afstemmen "
+"van de tracks zal grote invloed hebben op de luisterervaring."
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
-msgstr "Ten slotte moet opgemerkt worden dat, meer nog dan in de edit fase, de mix fase <emphasis>niet</emphasis> opgevat moet worden als vorderingen maken op een lineaire manier. Dit betekent dat je de handleiding niet van start tot finish moet opvolgen, maar dat springen tussen paragrafen gewenst zal zijn. Je moet eerst de tracks voor stereo output instellen en vervolgens alle paragrafen doorlezen en indien gewenst hun advies op te volgen, maar soms zul je terugkeren naar vorige activiteiten om hun instellingen opnieuw aan te passen. Als een instelling veranderd is, heeft dat de neiging om effect te hebben op andere instellingen, dus als je het niveau van een track ingesteld hebt, en je wijzigt dan de panning, moet je controleren of de niveaus die je ingesteld hebt nog steeds wenselijk zijn - ze zullen waarschijnlijk wat bijstelling nodig hebben hoe klein het ook is."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
+msgstr ""
+"Ten slotte moet opgemerkt worden dat, meer nog dan in de edit fase, de mix "
+"fase <emphasis>niet</emphasis> opgevat moet worden als vorderingen maken op "
+"een lineaire manier. Dit betekent dat je de handleiding niet van start tot "
+"finish moet opvolgen, maar dat springen tussen paragrafen gewenst zal zijn. "
+"Je moet eerst de tracks voor stereo output instellen en vervolgens alle "
+"paragrafen doorlezen en indien gewenst hun advies op te volgen, maar soms "
+"zul je terugkeren naar vorige activiteiten om hun instellingen opnieuw aan "
+"te passen. Als een instelling veranderd is, heeft dat de neiging om effect "
+"te hebben op andere instellingen, dus als je het niveau van een track "
+"ingesteld hebt, en je wijzigt dan de panning, moet je controleren of de "
+"niveaus die je ingesteld hebt nog steeds wenselijk zijn - ze zullen "
+"waarschijnlijk wat bijstelling nodig hebben hoe klein het ook is."
#. Tag: title
#, no-c-format
@@ -2401,23 +4400,60 @@ msgstr "De sessie instellen voor stereo output en Edit groups uitzetten"
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
-msgstr "Dat de sessie zo slecht klinkt komt gedeeltelijk omdat alle audio in gelijke mate naar zowel het linker als rechter kanaal gestuurd wordt, waardoor het een \"mono\" opname wordt, ook al hebben we het materiaal van een \"stereo\" opname. Dit kon gemakkelijk eerder veranderd worden, maar het zou tot nu niet veel verschil gemaakt hebben. Omdat het bewerken er op gericht was om de regio's zo samengesteld te krijgen dat ze net zoals het liedje zijn, gaat mixen over het fijn afstemmen van de regio's en tracks zodat zij liedje geweldig laten klinken."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
+msgstr ""
+"Dat de sessie zo slecht klinkt komt gedeeltelijk omdat alle audio in gelijke"
+" mate naar zowel het linker als rechter kanaal gestuurd wordt, waardoor het "
+"een \"mono\" opname wordt, ook al hebben we het materiaal van een \"stereo\""
+" opname. Dit kon gemakkelijk eerder veranderd worden, maar het zou tot nu "
+"niet veel verschil gemaakt hebben. Omdat het bewerken er op gericht was om "
+"de regio's zo samengesteld te krijgen dat ze net zoals het liedje zijn, gaat"
+" mixen over het fijn afstemmen van de regio's en tracks zodat zij liedje "
+"geweldig laten klinken."
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
-msgstr "Het uitzetten van de edit groups is ook een goed idee, omdat ze aangezet laten eigenlijk de functionaliteit <emphasis>vermindert</emphasis> in dit stadium van de productie. Met edit groups aangezet, zal elke verandering die we in een van de tracks aanbrengen ook automatisch in de andere track aangebracht worden. We willen in staat zijn om de tracks onafhankelijk aan te passen; voor gevallen waar beide tracks dezelfde aanpassing nodig hebben, gebruiken we de sub-master bus waaraan ze gekoppeld zijn."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
+msgstr ""
+"Het uitzetten van de edit groups is ook een goed idee, omdat ze aangezet "
+"laten eigenlijk de functionaliteit <emphasis>vermindert</emphasis> in dit "
+"stadium van de productie. Met edit groups aangezet, zal elke verandering die"
+" we in een van de tracks aanbrengen ook automatisch in de andere track "
+"aangebracht worden. We willen in staat zijn om de tracks onafhankelijk aan "
+"te passen; voor gevallen waar beide tracks dezelfde aanpassing nodig hebben,"
+" gebruiken we de sub-master bus waaraan ze gekoppeld zijn."
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
-msgstr "De volgende stappen zal de edit groups uitzetten en de tracks van deze sessie opnieuw configureren stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
+msgstr ""
+"De volgende stappen zal de edit groups uitzetten en de tracks van deze "
+"sessie opnieuw configureren stereo output."
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
-msgstr "We moeten tracks onafhankelijk van elkaar aanpassen, zodat de edit groups tijdelijk worden uitgezet moeten worden."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
+msgstr ""
+"We moeten tracks onafhankelijk van elkaar aanpassen, zodat de edit groups "
+"tijdelijk worden uitgezet moeten worden."
#. Tag: para
#, no-c-format
@@ -2426,43 +4462,93 @@ msgstr "Ga naar de \"Edit Groups\" tab van de sessie zijbalk."
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
-msgstr "Verwijder het \"Active\" vinkje voor alle groepen. Als je een edit group later opnieuw wilt aanzetten, vink je de \"Active\" knop gewoon weer aan."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
+msgstr ""
+"Verwijder het \"Active\" vinkje voor alle groepen. Als je een edit group "
+"later opnieuw wilt aanzetten, vink je de \"Active\" knop gewoon weer aan."
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
-msgstr "Open het het mixer venster door het selecteren van 'Window > Show Mixer' in het menu. Als je een multiple-monitor opstelling hebt, kan het zeer nuttig zijn om het venster van de mixer op een aparte monitor hebben en het editor venster op een andere. Als je geen multiple-monitor opstelling hebt, kun je het venster van de mixer op een afzonderlijk virtueel bureaublad houden. Dit zijn natuurlijk optionele stappen."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
+msgstr ""
+"Open het het mixer venster door het selecteren van 'Window > Show Mixer' "
+"in het menu. Als je een multiple-monitor opstelling hebt, kan het zeer "
+"nuttig zijn om het venster van de mixer op een aparte monitor hebben en het "
+"editor venster op een andere. Als je geen multiple-monitor opstelling hebt, "
+"kun je het venster van de mixer op een afzonderlijk virtueel bureaublad "
+"houden. Dit zijn natuurlijk optionele stappen."
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
-msgstr "In de buurt van de onderkant van de mixer van elke track, boven de knoppen, is een klein zwart rechthoek met drie grijze driehoeken en een groene verticale lijn. Elke bus heeft twee van deze rechthoeken. Deze controleren de panner, welke de links/rechts positie van een track in de stereo afbeelding aanpast."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
+msgstr ""
+"In de buurt van de onderkant van de mixer van elke track, boven de knoppen, "
+"is een klein zwart rechthoek met drie grijze driehoeken en een groene "
+"verticale lijn. Elke bus heeft twee van deze rechthoeken. Deze controleren "
+"de panner, welke de links/rechts positie van een track in de stereo "
+"afbeelding aanpast."
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
-msgstr "Je kunt de panner aanpassen door te klikken-en-slepen in het panner display. Je hoeft niet op de groene lijn te klikken, maar de lijn zal je de geschatte plaatsing van de track in het stereo beeld tonen."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
+msgstr ""
+"Je kunt de panner aanpassen door te klikken-en-slepen in het panner display."
+" Je hoeft niet op de groene lijn te klikken, maar de lijn zal je de "
+"geschatte plaatsing van de track in het stereo beeld tonen."
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
-msgstr "Voor elke \"links\" track, eindigend met een hoofdletter \"L\", moet de groene lijn helemaal naar links ingesteld zijn."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
+msgstr ""
+"Voor elke \"links\" track, eindigend met een hoofdletter \"L\", moet de "
+"groene lijn helemaal naar links ingesteld zijn."
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
-msgstr "Voor elke \"rechts\" track, eindigend met een hoofdletter \"R\", moet de groene lijn helemaal naar rechts ingesteld zijn."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
+msgstr ""
+"Voor elke \"rechts\" track, eindigend met een hoofdletter \"R\", moet de "
+"groene lijn helemaal naar rechts ingesteld zijn."
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
-msgstr "Elke bus is waarschijnlijk al correct ingesteld. Het bovenste venster van de bus vertegenwoordigt het linker kanaal, en de groene lijn moet helemaal links zijn. Het onderste venster van de bus vertegenwoordigt het rechter kanaal, en de groene lijn moet helemaal rechts zijn."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
+msgstr ""
+"Elke bus is waarschijnlijk al correct ingesteld. Het bovenste venster van de"
+" bus vertegenwoordigt het linker kanaal, en de groene lijn moet helemaal "
+"links zijn. Het onderste venster van de bus vertegenwoordigt het rechter "
+"kanaal, en de groene lijn moet helemaal rechts zijn."
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
-msgstr "Het mixer besturing boven de panner heet de \"fader\", en je kunt hiermee het niveau van een track aanpassen."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
+msgstr ""
+"Het mixer besturing boven de panner heet de \"fader\", en je kunt hiermee "
+"het niveau van een track aanpassen."
#. Tag: title
#, no-c-format
@@ -2471,33 +4557,80 @@ msgstr "Initiële niveaus instellen"
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
-msgstr "Net als bij het bewerken, is het punt hier om de niveaus ingesteld te krijgen in de ongeveer het juiste gebied, zodat ze voor de meeste tracks werken. Als je later begint met het gebruiken van een automatisering track, kunnen de niveaus verfijnd worden, en veranderd worden binnen de sessie. Hier volgt een mogelijke procedure voor een initiële niveau aanpassing:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
+msgstr ""
+"Net als bij het bewerken, is het punt hier om de niveaus ingesteld te "
+"krijgen in de ongeveer het juiste gebied, zodat ze voor de meeste tracks "
+"werken. Als je later begint met het gebruiken van een automatisering track, "
+"kunnen de niveaus verfijnd worden, en veranderd worden binnen de sessie. "
+"Hier volgt een mogelijke procedure voor een initiële niveau aanpassing:"
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
-msgstr "Open het mixer venster door het selecteren van 'Window > Mixer' in het menu. Zoals eerder vermeldt kan het handig zijn om het mixer venster op een andere monitor of virtueel bureaublad te plaatsen."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
+msgstr ""
+"Open het mixer venster door het selecteren van 'Window > Mixer' in het "
+"menu. Zoals eerder vermeldt kan het handig zijn om het mixer venster op een "
+"andere monitor of virtueel bureaublad te plaatsen."
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
-msgstr "Stelt alle faders in op 0 dB. Ze zijn waarschijnlijk al ingesteld op dit niveau, tenzij je dit eerder gewijzigd hebt."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
+msgstr ""
+"Stelt alle faders in op 0 dB. Ze zijn waarschijnlijk al ingesteld op dit "
+"niveau, tenzij je dit eerder gewijzigd hebt."
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
-msgstr "Neem de stilste track, als deze ingesteld is op 0 dB, als de beperkende factor op hoe hard de andere tracks moet worden. Omdat het over het algemeen veiliger om te voorkomen dat audio signalen versterkt worden, als we de stilste track als de \"basis-lijn\" houden, zullen we het niveau van de andere tracks <emphasis>omlaag</emphasis> moeten aanpassen. In dit geval zijn de voice tracks de rustigste."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
+msgstr ""
+"Neem de stilste track, als deze ingesteld is op 0 dB, als de beperkende "
+"factor op hoe hard de andere tracks moet worden. Omdat het over het algemeen"
+" veiliger om te voorkomen dat audio signalen versterkt worden, als we de "
+"stilste track als de \"basis-lijn\" houden, zullen we het niveau van de "
+"andere tracks <emphasis>omlaag</emphasis> moeten aanpassen. In dit geval "
+"zijn de voice tracks de rustigste."
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
-msgstr "Op dit punt, is het beste alleen de faders van bussen aan te passen. Als je de faders op de tracks aanpast, zal dit invloed hebben op de panning, en kan later tot verwarrende problemen leiden."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
+msgstr ""
+"Op dit punt, is het beste alleen de faders van bussen aan te passen. Als je "
+"de faders op de tracks aanpast, zal dit invloed hebben op de panning, en kan"
+" later tot verwarrende problemen leiden."
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
-msgstr "Speel de sessie af, en pas de faders van de bussen aan zodat alle tracks even goed te horen zijn. Vergeet niet dat je er gewoon naar streeft dat het <emphasis>meeste</emphasis> van de sessie op dit punt gebalanceerd wordt; een enkele fader instelling is waarschijnlijk niet aanvaardbaar voor de hele sessie."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
+msgstr ""
+"Speel de sessie af, en pas de faders van de bussen aan zodat alle tracks "
+"even goed te horen zijn. Vergeet niet dat je er gewoon naar streeft dat het "
+"<emphasis>meeste</emphasis> van de sessie op dit punt gebalanceerd wordt; "
+"een enkele fader instelling is waarschijnlijk niet aanvaardbaar voor de hele"
+" sessie."
#. Tag: para
#, no-c-format
@@ -2506,28 +4639,64 @@ msgstr "Je kunt de fader instelling op twee manieren aanpassen:"
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
-msgstr "Klik-en-sleep de verticale gestippelde bedieningsstrook links van de niveau meter (die oplicht als een track afgespeeld wordt)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
+msgstr ""
+"Klik-en-sleep de verticale gestippelde bedieningsstrook links van de niveau "
+"meter (die oplicht als een track afgespeeld wordt)."
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
-msgstr "Gebruik het indicator vak als een tekstveld: klik in het vak, wis het getoonde getal, en typ een nieuw getal in. Druk op 'enter' op het toetsenbord om de nieuwe waarde in te stellen."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
+msgstr ""
+"Gebruik het indicator vak als een tekstveld: klik in het vak, wis het "
+"getoonde getal, en typ een nieuw getal in. Druk op 'enter' op het "
+"toetsenbord om de nieuwe waarde in te stellen."
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
-msgstr "Misschien wil je de volgorde van de tracks en bussen in het canvas gebied veranderen, wat de volgorde in de mixer venster zal wijzigen. Alle bussen tezamen plaatsen maakt het gemakkelijker om ze te zien."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
+msgstr ""
+"Misschien wil je de volgorde van de tracks en bussen in het canvas gebied "
+"veranderen, wat de volgorde in de mixer venster zal wijzigen. Alle bussen "
+"tezamen plaatsen maakt het gemakkelijker om ze te zien."
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
-msgstr "Je kunt er ook kiezen om de tracks niet weer te geven, zodat je kunt concentreren op de bussen die je wilt veranderen. Om een track of bus tijdelijk in het mixer venster te verbergen, gebruik je de gereedschapskist links van het mixer venster. Verwijder het \"Show\" vinkje voor elke track of bus die je tijdelijk verbergen wilt."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
+msgstr ""
+"Je kunt er ook kiezen om de tracks niet weer te geven, zodat je kunt "
+"concentreren op de bussen die je wilt veranderen. Om een track of bus "
+"tijdelijk in het mixer venster te verbergen, gebruik je de gereedschapskist "
+"links van het mixer venster. Verwijder het \"Show\" vinkje voor elke track "
+"of bus die je tijdelijk verbergen wilt."
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
-msgstr "De \"maximum level\" indicator op het fader gereedschap kan je helpen om te beoordelen hoe luid elke track is. Deze indicator bevindt zich boven de meter, onder de \"Solo\" knop. De indicator laat het hoogste niveau zien geproduceerd door de track sinds de laatste reset van de indicator. Je kunt de indicator opnieuw instellen door erop te klikken."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
+msgstr ""
+"De \"maximum level\" indicator op het fader gereedschap kan je helpen om te "
+"beoordelen hoe luid elke track is. Deze indicator bevindt zich boven de "
+"meter, onder de \"Solo\" knop. De indicator laat het hoogste niveau zien "
+"geproduceerd door de track sinds de laatste reset van de indicator. Je kunt "
+"de indicator opnieuw instellen door erop te klikken."
#. Tag: title
#, no-c-format
@@ -2536,18 +4705,90 @@ msgstr "Initiële panning instellen"
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
-msgstr "Het instellen van de initiële panning heeft wat meer denkwerk nodig dan het instellen van de initiële niveaus. Verschillende muziek zal verschillende eisen hebben, maar het belangrijkste doel van het aanpassen van de panning voor dit soort opgenomen akoestische muziek is om ervoor te zorgen dat elke uitvoerder een unieke en onveranderlijke positie in het stereobeeld heeft. Als mensen naar muziek luisteren, kennen ze impliciet een \"locatie\" toe aan het geluid - waar hun hersenen denken waar het vandaan moet komen. Als we opgenomen muziek beluisteren, begrijpen we dat het geluid in feite afkomstig is van de luidsprekers of een hoofdtelefoon, en dat de muzikanten er eigenlijk niet zijn. Maar toch, het kan moeilijk, vermoeiend, en onaangenaam zijn om naar muziek te luisteren waar de ingebeelde positie van een uitvoerder of geluid voortdurend verandert - net zoals het moeilijk en vermoeiend is om te luisteren naar muziek die slecht gebalanceerde niveaus heeft."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
+msgstr ""
+"Het instellen van de initiële panning heeft wat meer denkwerk nodig dan het "
+"instellen van de initiële niveaus. Verschillende muziek zal verschillende "
+"eisen hebben, maar het belangrijkste doel van het aanpassen van de panning "
+"voor dit soort opgenomen akoestische muziek is om ervoor te zorgen dat elke "
+"uitvoerder een unieke en onveranderlijke positie in het stereobeeld heeft. "
+"Als mensen naar muziek luisteren, kennen ze impliciet een \"locatie\" toe "
+"aan het geluid - waar hun hersenen denken waar het vandaan moet komen. Als "
+"we opgenomen muziek beluisteren, begrijpen we dat het geluid in feite "
+"afkomstig is van de luidsprekers of een hoofdtelefoon, en dat de muzikanten "
+"er eigenlijk niet zijn. Maar toch, het kan moeilijk, vermoeiend, en "
+"onaangenaam zijn om naar muziek te luisteren waar de ingebeelde positie van "
+"een uitvoerder of geluid voortdurend verandert - net zoals het moeilijk en "
+"vermoeiend is om te luisteren naar muziek die slecht gebalanceerde niveaus "
+"heeft."
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
-msgstr "Alsof het nog niet al moeilijk genoeg is, wordt het stereo beeld in onze hersenen gemaakt als een complex samenspel van vele factoren: zachte geluiden en latere geluiden lijken verder weg te zijn dan hardere en eerdere geluiden. Hoewel de panner van de DAW het signaal alleen ergens in een rechte lijn tussen \"helemaal naar links\" en \"helemaal naar rechts\" kan plaatsen, verwerken onze hersenen geluid als bestaande in een driedimensionale wereld. Een master audio ingenieur zal in staat zijn om deze factoren met relatief gemak te controleren, maar voor ons heeft het veel meer trial-and-error nodig."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
+msgstr ""
+"Alsof het nog niet al moeilijk genoeg is, wordt het stereo beeld in onze "
+"hersenen gemaakt als een complex samenspel van vele factoren: zachte "
+"geluiden en latere geluiden lijken verder weg te zijn dan hardere en eerdere"
+" geluiden. Hoewel de panner van de DAW het signaal alleen ergens in een "
+"rechte lijn tussen \"helemaal naar links\" en \"helemaal naar rechts\" kan "
+"plaatsen, verwerken onze hersenen geluid als bestaande in een "
+"driedimensionale wereld. Een master audio ingenieur zal in staat zijn om "
+"deze factoren met relatief gemak te controleren, maar voor ons heeft het "
+"veel meer trial-and-error nodig."
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
-msgstr "Een bijzonder obstakel van deze sessie is dat de regio's met de soliste haar in een andere ingebeelde positie plaatst dan de regio's waar de soliste met andere zangers zingt. Omdat dit in de dezelfde tracks gebeurt, zullen we geautomatiseerde panner en fader tracks gebruiken om te helpen bij het oplossen van dit probleem. Luister er zelf naar: begin bij over 00:02:40.000 en besteed aandacht aan waar de soliste lijkt te staan in de \"Voice_4\" en de \"ens-Create_the_Inconceivable\" regio's. Het lijkt mij alsof ze zich verplaatst vanuit van rechts naar een verdere afstand net naar links; een of andere manier zonder zich te stoten aan de andere mensen in het vocaal ensemble, of de strijkers, die ook in de weg lijken te zijn! Je zou kunnen stellen dat de meeste luisteraars dit niet op zouden merken, en dat is waarschijnlijk het geval. Maar ik zou willen stellen dat de drastische wijziging van niveau en panning passief gedetecteerd zal worden door diezelfde mensen, zelfs
als ze zich er alleen maar van bewust zijn dat het \"niet helemaal goed\" is."
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
+msgstr ""
+"Een bijzonder obstakel van deze sessie is dat de regio's met de soliste haar"
+" in een andere ingebeelde positie plaatst dan de regio's waar de soliste met"
+" andere zangers zingt. Omdat dit in de dezelfde tracks gebeurt, zullen we "
+"geautomatiseerde panner en fader tracks gebruiken om te helpen bij het "
+"oplossen van dit probleem. Luister er zelf naar: begin bij over 00:02:40.000"
+" en besteed aandacht aan waar de soliste lijkt te staan in de \"Voice_4\" en"
+" de \"ens-Create_the_Inconceivable\" regio's. Het lijkt mij alsof ze zich "
+"verplaatst vanuit van rechts naar een verdere afstand net naar links; een of"
+" andere manier zonder zich te stoten aan de andere mensen in het vocaal "
+"ensemble, of de strijkers, die ook in de weg lijken te zijn! Je zou kunnen "
+"stellen dat de meeste luisteraars dit niet op zouden merken, en dat is "
+"waarschijnlijk het geval. Maar ik zou willen stellen dat de drastische "
+"wijziging van niveau en panning passief gedetecteerd zal worden door "
+"diezelfde mensen, zelfs als ze zich er alleen maar van bewust zijn dat het "
+"\"niet helemaal goed\" is."
#. Tag: para
#, no-c-format
@@ -2556,98 +4797,234 @@ msgstr "Hier is één manier om te beginnen:"
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
-msgstr "Luister naar de sessie, en zie of je de locatie van de instrumenten/zangers kunt plaatsen gedurende het grootste deel van de sessie. Je moet dit onthouden, dus overweeg om het op te schrijven, of teken een kaart."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
+msgstr ""
+"Luister naar de sessie, en zie of je de locatie van de instrumenten/zangers "
+"kunt plaatsen gedurende het grootste deel van de sessie. Je moet dit "
+"onthouden, dus overweeg om het op te schrijven, of teken een kaart."
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
-msgstr "Teken nu een kaart waar je denkt dat alles moet komen. Vooral in niet-standaard ensembles zoals dit is er geen vooraf gedefinieerde plaats indeling. Sommige tracks zullen zeer weinig aanpassing nodig hebben, maar andere moeten uitgebreid aangepast worden. In het algemeen, hoe minder aanpassingen nodig zullen zijn, des te beter de sessie zal klinken - dus als het er op lijkt dat een track een consistente locatie heeft en het niet conflicteert met andere tracks, dan is het waarschijnlijk beter om het ongewijzigd te laten."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
+msgstr ""
+"Teken nu een kaart waar je denkt dat alles moet komen. Vooral in niet-"
+"standaard ensembles zoals dit is er geen vooraf gedefinieerde plaats "
+"indeling. Sommige tracks zullen zeer weinig aanpassing nodig hebben, maar "
+"andere moeten uitgebreid aangepast worden. In het algemeen, hoe minder "
+"aanpassingen nodig zullen zijn, des te beter de sessie zal klinken - dus als"
+" het er op lijkt dat een track een consistente locatie heeft en het niet "
+"conflicteert met andere tracks, dan is het waarschijnlijk beter om het "
+"ongewijzigd te laten."
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
-msgstr "Dit is wat ik hoor. Het kan afwijken van wat jij hoort, vooral als jouw initiële niveau instelling anders is:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
+msgstr ""
+"Dit is wat ik hoor. Het kan afwijken van wat jij hoort, vooral als jouw "
+"initiële niveau instelling anders is:"
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
-msgstr "De beide marimba tracks zijn helemaal consequent. De \"marimba1\" tracks lijken ongeveer 5 meter voor me te zijn, een beetje naar links. De \"marimba2\" tracks lijken op ongeveer dezelfde afstand te zijn, maar bijna direct rechts van mij."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
+msgstr ""
+"De beide marimba tracks zijn helemaal consequent. De \"marimba1\" tracks "
+"lijken ongeveer 5 meter voor me te zijn, een beetje naar links. De "
+"\"marimba2\" tracks lijken op ongeveer dezelfde afstand te zijn, maar bijna "
+"direct rechts van mij."
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
-msgstr "Alle strings regio's lijken te consistent te zijn, met de viool net links van het midden geplaatst, en de cello net rechts van het midden. Ze lijken een beetje dichter bij te zijn dan de marimba's."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
+msgstr ""
+"Alle strings regio's lijken te consistent te zijn, met de viool net links "
+"van het midden geplaatst, en de cello net rechts van het midden. Ze lijken "
+"een beetje dichter bij te zijn dan de marimba's."
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
-msgstr "De klarinet lijkt aan de andere kant van de hogere marimba te zijn; op ongeveer 5 meter afstand, halverwege tussen het midden en links."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
+msgstr ""
+"De klarinet lijkt aan de andere kant van de hogere marimba te zijn; op "
+"ongeveer 5 meter afstand, halverwege tussen het midden en links."
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
-msgstr "Het vocaal ensemble lijkt permanent op dezelfde plaats te staan als de strings, maar breidt een beetje meer naar rechts uit."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
+msgstr ""
+"Het vocaal ensemble lijkt permanent op dezelfde plaats te staan als de "
+"strings, maar breidt een beetje meer naar rechts uit."
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
-msgstr "De solo zanger lijkt op dezelfde plaats te staan als de mannelijke zangers in het vocaal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
+msgstr ""
+"De solo zanger lijkt op dezelfde plaats te staan als de mannelijke zangers "
+"in het vocaal ensemble."
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
-msgstr "Hier volgt hoe ik van plan dit te repareren; aanwijzingen worden gegeven ervan uitgaande dat de luisteraar naar het noorden kijkt:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
+msgstr ""
+"Hier volgt hoe ik van plan dit te repareren; aanwijzingen worden gegeven "
+"ervan uitgaande dat de luisteraar naar het noorden kijkt:"
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
-msgstr "Stel twee rijen uitvoerenden op, rond de luisteraar in een halve cirkel."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
+msgstr ""
+"Stel twee rijen uitvoerenden op, rond de luisteraar in een halve cirkel."
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
-msgstr "De strings zullen in de binnenste rij zijn, naar het noordwesten. Dit vereist om ze een beetje naar links te verplaatsen."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
+msgstr ""
+"De strings zullen in de binnenste rij zijn, naar het noordwesten. Dit "
+"vereist om ze een beetje naar links te verplaatsen."
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
-msgstr "De vocale solist zal in de binnenste rij zijn, net ten oosten van het noorden (het midden). Dit vereist om haar <emphasis>net</emphasis> een beetje naar links te verplaatsen."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
+msgstr ""
+"De vocale solist zal in de binnenste rij zijn, net ten oosten van het "
+"noorden (het midden). Dit vereist om haar <emphasis>net</emphasis> een "
+"beetje naar links te verplaatsen."
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
-msgstr "Het vocaal ensemble zal in de binnenste rij zijn, verspreid van noord naar noordoosten, waardoor de soliste op dezelfde plaats kan blijven. Dit vergt hoofdzakelijk een fader aanpassing, om het ensemble dichterbij te laten lijken."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
+msgstr ""
+"Het vocaal ensemble zal in de binnenste rij zijn, verspreid van noord naar "
+"noordoosten, waardoor de soliste op dezelfde plaats kan blijven. Dit vergt "
+"hoofdzakelijk een fader aanpassing, om het ensemble dichterbij te laten "
+"lijken."
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
-msgstr "De lagere marimba zal in de buitenste rij zijn, in het noordwesten. Hiervoor zullen geen aanpassingen nodig zijn, maar misschien een kleine verplaatsing naar links."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
+msgstr ""
+"De lagere marimba zal in de buitenste rij zijn, in het noordwesten. Hiervoor"
+" zullen geen aanpassingen nodig zijn, maar misschien een kleine verplaatsing"
+" naar links."
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
-msgstr "De hogere marimba zal in de buitenste rij zijn, in het noordoosten. Dit vereist een kleine verplaatsing naar links."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
+msgstr ""
+"De hogere marimba zal in de buitenste rij zijn, in het noordoosten. Dit "
+"vereist een kleine verplaatsing naar links."
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
-msgstr "De klarinet zal in de buitenste rij zijn, in het noorden. Dit vereist een significante aanpassing naar rechts."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
+msgstr ""
+"De klarinet zal in de buitenste rij zijn, in het noorden. Dit vereist een "
+"significante aanpassing naar rechts."
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
-msgstr "Ik koos voor deze bepaalde opstelling omdat het relatief minimale aanpassing vereist, en het maakt een zekere mate zin in termen van traditionele instrumentaal ensemble zitplaatsen patronen. Ook de noten gespeeld door de klarinet in dit lied lijken geschikt om te worden weergegeven alsof ze van ver weg komen, en de passages worden gespeeld met de goede expressie, dus ik denk dat het relatief eenvoudig voor mij zal zijn om dat effect te bereiken. De belangrijkste overweging was de plaatsing van het vocaal ensemble en de solo zanger erbinnen. Hoewel de solo zanger het hoogste deel in het ensemble zingt (\"sopraan\"), lijkt de stereo opname aan te geven dat ze niet op de meest linkse positie in het ensemble stond (ik weet dit omdat ik aanwezig was tijdens de opname). Dit voegt een extra moeilijkheid toe, daar de instellingen van het fader en panner voor de hele voice track gebaseerd moeten zijn op het moment in de \"ens-Create_the_Inconceivable\" regio waar de op een na
hoogste zanger (\"alto\") net na de hoogste zanger zingt, welke de solist is."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
+msgstr ""
+"Ik koos voor deze bepaalde opstelling omdat het relatief minimale aanpassing"
+" vereist, en het maakt een zekere mate zin in termen van traditionele "
+"instrumentaal ensemble zitplaatsen patronen. Ook de noten gespeeld door de "
+"klarinet in dit lied lijken geschikt om te worden weergegeven alsof ze van "
+"ver weg komen, en de passages worden gespeeld met de goede expressie, dus ik"
+" denk dat het relatief eenvoudig voor mij zal zijn om dat effect te "
+"bereiken. De belangrijkste overweging was de plaatsing van het vocaal "
+"ensemble en de solo zanger erbinnen. Hoewel de solo zanger het hoogste deel "
+"in het ensemble zingt (\"sopraan\"), lijkt de stereo opname aan te geven dat"
+" ze niet op de meest linkse positie in het ensemble stond (ik weet dit omdat"
+" ik aanwezig was tijdens de opname). Dit voegt een extra moeilijkheid toe, "
+"daar de instellingen van het fader en panner voor de hele voice track "
+"gebaseerd moeten zijn op het moment in de \"ens-Create_the_Inconceivable\" "
+"regio waar de op een na hoogste zanger (\"alto\") net na de hoogste zanger "
+"zingt, welke de solist is."
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
-msgstr "Breng ruwe veranderingen aan in de meeste tracks om ze ongeveer op de juiste plaats in het stereo beeld te plaatsen. Je wilt misschien een panner instelling van een individuele track aanpassen, naast de instellingen van panner van de bussen; ze zullen een licht verschillend effect hebben. Voor de marimba tracks kun je de fijn afstemming nu willen doen door het aanpassen van fader instellingen. Omdat deze tracks zo consequent zijn, vereisen ze relatief weinig automatisering, en zullen daarom meer profiteren van een meer diepgaande initiële instellingsprocedure. Vergeet niet dat het beter is om de fader omlaag te draaien dan om deze omhoog te draaien!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
+msgstr ""
+"Breng ruwe veranderingen aan in de meeste tracks om ze ongeveer op de juiste"
+" plaats in het stereo beeld te plaatsen. Je wilt misschien een panner "
+"instelling van een individuele track aanpassen, naast de instellingen van "
+"panner van de bussen; ze zullen een licht verschillend effect hebben. Voor "
+"de marimba tracks kun je de fijn afstemming nu willen doen door het "
+"aanpassen van fader instellingen. Omdat deze tracks zo consequent zijn, "
+"vereisen ze relatief weinig automatisering, en zullen daarom meer profiteren"
+" van een meer diepgaande initiële instellingsprocedure. Vergeet niet dat het"
+" beter is om de fader omlaag te draaien dan om deze omhoog te draaien!"
#. Tag: para
#, no-c-format
msgid "It's probably easier to avoid working with the voice tracks for now."
-msgstr "Het is waarschijnlijk gemakkelijker om het werken met de voice tracks nu te vermijden."
+msgstr ""
+"Het is waarschijnlijk gemakkelijker om het werken met de voice tracks nu te "
+"vermijden."
#. Tag: title
#, no-c-format
@@ -2656,18 +5033,53 @@ msgstr "Maak verdere aanpassingen met een automatisering track"
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
-msgstr "Tot nu toe hebben wij de fader en panner instellingen handmatig ruw aangepast. Dit zal niet werken als je veranderingen in de instellingen wilt, terwijl een sessie afgespeeld wordt; je zou alle instellingen zelf moeten veranderen, iedere keer dat je de sessie afspeelt. Dit wordt snel ingewikkeld - niet te vergeten lastig om te onthouden. \"Automatisering\" kan effecten (zoals de panner en fader) toe staan om automatisch verplaatst te worden tijdens het afspelen van de sessie. Een automatisering track is gewoon een track die geen audio bevat, maar instructies voor het aanpassen van een bepaald effect. Automatisering tracks lijken gewoonlijk op audio tracks, maar ze bevatten lijnen en punten, om de instelling veranderingen weer te geven. Automatisering tracks kunnen in feite \"opgenomen\" worden, maar we gaan een meer basis bewerkingsmethode gebruiken. Automatisering tracks kunnen worden toegekend aan bussen en tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
+msgstr ""
+"Tot nu toe hebben wij de fader en panner instellingen handmatig ruw "
+"aangepast. Dit zal niet werken als je veranderingen in de instellingen wilt,"
+" terwijl een sessie afgespeeld wordt; je zou alle instellingen zelf moeten "
+"veranderen, iedere keer dat je de sessie afspeelt. Dit wordt snel "
+"ingewikkeld - niet te vergeten lastig om te onthouden. \"Automatisering\" "
+"kan effecten (zoals de panner en fader) toe staan om automatisch verplaatst "
+"te worden tijdens het afspelen van de sessie. Een automatisering track is "
+"gewoon een track die geen audio bevat, maar instructies voor het aanpassen "
+"van een bepaald effect. Automatisering tracks lijken gewoonlijk op audio "
+"tracks, maar ze bevatten lijnen en punten, om de instelling veranderingen "
+"weer te geven. Automatisering tracks kunnen in feite \"opgenomen\" worden, "
+"maar we gaan een meer basis bewerkingsmethode gebruiken. Automatisering "
+"tracks kunnen worden toegekend aan bussen en tracks."
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
-msgstr "Hier volgt het maken van een automatisering track en je het invult. We gaan de fader op de lagere marimba instellen, zodat het harder is in de inleiding en stiller wordt als de hogere marimba en solo zanger mee gaan doen."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
+msgstr ""
+"Hier volgt het maken van een automatisering track en je het invult. We gaan "
+"de fader op de lagere marimba instellen, zodat het harder is in de inleiding"
+" en stiller wordt als de hogere marimba en solo zanger mee gaan doen."
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
-msgstr "Klik in het canvas gebied op de 'a' knop van de controle box van de \"Bus-marimba1\" bus om het \"automation\" menu te openen."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
+msgstr ""
+"Klik in het canvas gebied op de 'a' knop van de controle box van de \"Bus-"
+"marimba1\" bus om het \"automation\" menu te openen."
#. Tag: para
#, no-c-format
@@ -2676,58 +5088,122 @@ msgstr "Klik op 'Fader' in het automation menu."
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
-msgstr "Een automatisering track die de fader controleert verschijnt onder de bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
+msgstr ""
+"Een automatisering track die de fader controleert verschijnt onder de bus."
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
-msgstr "Als je in de automatisering track klikt verschijnt een punt. Elk punt vertegenwoordigt een absolute instelling voor het controle. Nadat het punt verschijnt, als je klikt-en-sleept, zal het gele getal bij de cursor je de fader instelling van dat punt vertellen."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
+msgstr ""
+"Als je in de automatisering track klikt verschijnt een punt. Elk punt "
+"vertegenwoordigt een absolute instelling voor het controle. Nadat het punt "
+"verschijnt, als je klikt-en-sleept, zal het gele getal bij de cursor je de "
+"fader instelling van dat punt vertellen."
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
-msgstr "Als er twee of meer punten in de automatisering track zijn, zullen lijnen weer gegeven worden om deze te verbinden. De fader zal geleidelijk verplaatst worden tussen absolute instellingen, zoals getoond door de lijn tussen de punten."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
+msgstr ""
+"Als er twee of meer punten in de automatisering track zijn, zullen lijnen "
+"weer gegeven worden om deze te verbinden. De fader zal geleidelijk "
+"verplaatst worden tussen absolute instellingen, zoals getoond door de lijn "
+"tussen de punten."
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
-msgstr "Als je een fout maakt en opnieuw wilt beginnen, kun je op de 'clear' knop van de automatisering track controle box duwen. Je kunt helaas geen enkel punt verwijderen. Dit is echter niet echt nodig; als je per ongeluk te veel punten toevoegt, gebruik je de extra punt gewoon om een instelling constant te houden."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
+msgstr ""
+"Als je een fout maakt en opnieuw wilt beginnen, kun je op de 'clear' knop "
+"van de automatisering track controle box duwen. Je kunt helaas geen enkel "
+"punt verwijderen. Dit is echter niet echt nodig; als je per ongeluk te veel "
+"punten toevoegt, gebruik je de extra punt gewoon om een instelling constant "
+"te houden."
#. Tag: para
-#, fuzzy, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
-msgstr "Voeg een punt toe aan het begin van de automatisering track met een waarde van 0.0 dB"
+#, no-c-format
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
+msgstr ""
#. Tag: para
-#, fuzzy, no-c-format
+#, no-c-format
msgid "Add one point at about 00:00:15.000, with a setting of 0.0 dB"
-msgstr "Voeg een punt toe op 00:00:15.000, met een waarde van 0.0 dB"
+msgstr ""
#. Tag: para
-#, fuzzy, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
-msgstr "Voeg een punt toe op 00:00:16.500 (als de zangeres begint), met een waarde van -10.0 dB, of wat dan ook je eerder instelde."
+#, no-c-format
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
-msgstr "Nu heb je een automatisering plan ingesteld, maar de fader is nog steeds in de \"Manual\" mode, dus de automatisering track zal geen effect hebben. Verander de instelling van de automatisering door te klikken op de mode knop modus in het controlevak van de track. De knop geeft nu \"Manual\" aan."
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
+msgstr ""
+"Nu heb je een automatisering plan ingesteld, maar de fader is nog steeds in "
+"de \"Manual\" mode, dus de automatisering track zal geen effect hebben. "
+"Verander de instelling van de automatisering door te klikken op de mode knop"
+" modus in het controlevak van de track. De knop geeft nu \"Manual\" aan."
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
-msgstr "Selecteer in het menu \"Play\", wat zal de automatisering instellingen zal laten afspelen. In \"Manual\" mode moet je alle instellingen handmatig aanpassen. In \"Write\" mode, zullen veranderingen die je aanbrengt terwijl de sessie afgespeeld wordt opgenomen worden in de automatisering track en vorige instellingen overschrijven. In \"Touch\" mode zullen wijzigingen die je maakt terwijl de sessie afgespeeld wordt, opgenomen worden in de reeds bestaande automatisering instellingen."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
+msgstr ""
+"Selecteer in het menu \"Play\", wat zal de automatisering instellingen zal "
+"laten afspelen. In \"Manual\" mode moet je alle instellingen handmatig "
+"aanpassen. In \"Write\" mode, zullen veranderingen die je aanbrengt terwijl "
+"de sessie afgespeeld wordt opgenomen worden in de automatisering track en "
+"vorige instellingen overschrijven. In \"Touch\" mode zullen wijzigingen die "
+"je maakt terwijl de sessie afgespeeld wordt, opgenomen worden in de reeds "
+"bestaande automatisering instellingen."
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
-msgstr "Beluister tenslotte de veranderingen om te bevestigen dat je de geautomatiseerde panner verandering goed vindt. Als dat niet het geval is kun je dit nu of later altijd nog aanpassen "
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
+msgstr ""
+"Beluister tenslotte de veranderingen om te bevestigen dat je de "
+"geautomatiseerde panner verandering goed vindt. Als dat niet het geval is "
+"kun je dit nu of later altijd nog aanpassen "
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
-msgstr "Nu - hier komt het moeilijke deel! Gebruik automatisering om de instellingen van de fader en panner voor de hele sessie aan te passen. Zorg er in het bijzonder dat de voice tracks consistent zijn."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
+msgstr ""
+"Nu - hier komt het moeilijke deel! Gebruik automatisering om de instellingen"
+" van de fader en panner voor de hele sessie aan te passen. Zorg er in het "
+"bijzonder dat de voice tracks consistent zijn."
#. Tag: title
#, no-c-format
@@ -2736,43 +5212,84 @@ msgstr "Andere dingen die je zou willen doen"
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
-msgstr "De mix fase omvat een heleboel kleine (en grote) afstemmingen. Hier zijn een paar dingen die je misschien wilt doen, die de fader en panner instellingen niet aanpassen:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
+msgstr ""
+"De mix fase omvat een heleboel kleine (en grote) afstemmingen. Hier zijn een"
+" paar dingen die je misschien wilt doen, die de fader en panner instellingen"
+" niet aanpassen:"
#. Tag: para
#, no-c-format
msgid "Re-align tracks to ensure that they're synchronized."
-msgstr "Lijn tracks opnieuw uit om ervoor te zorgen dat ze gesynchroniseerd zijn."
+msgstr ""
+"Lijn tracks opnieuw uit om ervoor te zorgen dat ze gesynchroniseerd zijn."
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
-msgstr "Zoe naar een zinvolle manier om met het geluid van de stoelen in te voegen."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
+msgstr ""
+"Zoe naar een zinvolle manier om met het geluid van de stoelen in te voegen."
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
-msgstr "Vergelijk de momenteel ongebruikte klarinet regio's met de gebruikte. Probeer verschillende combinaties van de regio's en verwijder de ongebruikte regio's uit de sessie."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
+msgstr ""
+"Vergelijk de momenteel ongebruikte klarinet regio's met de gebruikte. "
+"Probeer verschillende combinaties van de regio's en verwijder de ongebruikte"
+" regio's uit de sessie."
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
-msgstr "Vergelijk de momenteel ongebruikte string regio's de gebruikte. Deze regio's zijn veel langer dan de klarinet regio's, dus je wilt misschien een bereik van regio's uitkiezen om heen en weer te schakelen."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
+msgstr ""
+"Vergelijk de momenteel ongebruikte string regio's de gebruikte. Deze regio's"
+" zijn veel langer dan de klarinet regio's, dus je wilt misschien een bereik "
+"van regio's uitkiezen om heen en weer te schakelen."
#. Tag: para
-#, fuzzy, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
-msgstr "Laat een vriend - of op zijn minst iemand anders - luisteren naar de mix die je gemaakt hebt. Vraag hun mening over moeilijkheden die je hebt of gebruik ze als een meer algemene luisteraar."
+#, no-c-format
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
-msgstr "Luister naar de mix op verschillende soorten van reproductie apparatuur (luidsprekers en versterkers). Dezelfde audio signalen zullen anders klinken als ze op verschillende apparatuur afgespeeld worden."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
+msgstr ""
+"Luister naar de mix op verschillende soorten van reproductie apparatuur "
+"(luidsprekers en versterkers). Dezelfde audio signalen zullen anders klinken"
+" als ze op verschillende apparatuur afgespeeld worden."
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
-msgstr "als je klaar bent met het mixen van het lied, moet je ernaar luisteren. Je moet met zoveel verschillende apparaten als mogelijk luisteren: koptelefoon, luidsprekers, hometheater systemen, enzovoort. Ook moet je jouw vrienden en collega's vragen om te luisteren naar jouw werk. Andere mensen anders horen dingen anders dan jij en zullen je verschillende feedback geven."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
+msgstr ""
+"als je klaar bent met het mixen van het lied, moet je ernaar luisteren. Je "
+"moet met zoveel verschillende apparaten als mogelijk luisteren: koptelefoon,"
+" luidsprekers, hometheater systemen, enzovoort. Ook moet je jouw vrienden en"
+" collega's vragen om te luisteren naar jouw werk. Andere mensen anders horen"
+" dingen anders dan jij en zullen je verschillende feedback geven."
#. Tag: title
#, no-c-format
@@ -2781,8 +5298,19 @@ msgstr "Een sessie masteren"
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
-msgstr "Om een echte meester in het masteren van sessies te worden is jarenlange ervaring en zorgvuldige optimalisatie voor de doel formaat vereist. Het weten van enkel de juiste toepassing van egalisatie en filter instellingen is een kunst op zich, en de moeite waard voor een volledige gebruikers handleiding. Deze paragraaf richt zich op het verkrijgen van de audio uit een sessie naar een nuttig formaat."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
+msgstr ""
+"Om een echte meester in het masteren van sessies te worden is jarenlange "
+"ervaring en zorgvuldige optimalisatie voor de doel formaat vereist. Het "
+"weten van enkel de juiste toepassing van egalisatie en filter instellingen "
+"is een kunst op zich, en de moeite waard voor een volledige gebruikers "
+"handleiding. Deze paragraaf richt zich op het verkrijgen van de audio uit "
+"een sessie naar een nuttig formaat."
#. Tag: title
#, no-c-format
@@ -2791,8 +5319,12 @@ msgstr "Manieren om audio exporteren"
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
-msgstr "Er zijn drie manieren voor het exporteren van audio vanuit een <application>Ardour</application> sessie:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
+msgstr ""
+"Er zijn drie manieren voor het exporteren van audio vanuit een "
+"<application>Ardour</application> sessie:"
#. Tag: para
#, no-c-format
@@ -2841,8 +5373,12 @@ msgstr "Om alle audio in een bereik op de tijdlijn te exporteren:"
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
-msgstr "Selecteer het bereik met het \"Select/Move Ranges\" gereedschap. Ongeacht welke track je selecteert, alle tracks geëxporteerd worden geëxporteerd."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
+msgstr ""
+"Selecteer het bereik met het \"Select/Move Ranges\" gereedschap. Ongeacht "
+"welke track je selecteert, alle tracks geëxporteerd worden geëxporteerd."
#. Tag: para
#, no-c-format
@@ -2861,8 +5397,12 @@ msgstr "Om alle audio in een sessie te exporteren:"
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
-msgstr "Selecteer in het menu 'Session > Export > Export > Export session to audiofile', of duw op het toetsenbord op 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgstr ""
+"Selecteer in het menu 'Session > Export > Export > Export session "
+"to audiofile', of duw op het toetsenbord op 'Ctrl + Alt + e'"
#. Tag: title
#, no-c-format
@@ -2871,8 +5411,14 @@ msgstr "Het Export venster gebruiken"
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
-msgstr "Ongeacht de export methode die je kiest, het \"Export\" venster is vergelijkbaar. Als je een regio exporteert, hoef je de te exporteren tracks niet te kiezen (per definitie exporteer je alleen de track van die regio)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
+msgstr ""
+"Ongeacht de export methode die je kiest, het \"Export\" venster is "
+"vergelijkbaar. Als je een regio exporteert, hoef je de te exporteren tracks "
+"niet te kiezen (per definitie exporteer je alleen de track van die regio)."
#. Tag: title
#, no-c-format
@@ -2881,8 +5427,23 @@ msgstr "Kies welke tracks te exporteren"
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
-msgstr "Standaard zal <application>Ardour</application> alle audio in het bereik of de sessie exporteren. Wat het in feite exporteert is alle audio gerouteerd via de master output bus. Je kunt de lijst met te exporteren tracks zien rechts van het \"Export\" venster. Als je op de 'Specific Tracks' knop klikt, kun je kiezen uit een lijst van alle tracks en bussen in een sessie. Het kiezen van specifieke tracks heeft alleen zin als je niet exporteert via master bus output, daarom moet je die waarschijnlijk eerst de-selecteren."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
+msgstr ""
+"Standaard zal <application>Ardour</application> alle audio in het bereik of "
+"de sessie exporteren. Wat het in feite exporteert is alle audio gerouteerd "
+"via de master output bus. Je kunt de lijst met te exporteren tracks zien "
+"rechts van het \"Export\" venster. Als je op de 'Specific Tracks' knop "
+"klikt, kun je kiezen uit een lijst van alle tracks en bussen in een sessie. "
+"Het kiezen van specifieke tracks heeft alleen zin als je niet exporteert via"
+" master bus output, daarom moet je die waarschijnlijk eerst de-selecteren."
#. Tag: title
#, no-c-format
@@ -2890,14 +5451,27 @@ msgid "Choose the Export Format"
msgstr "Het export formaat kiezen"
#. Tag: para
-#, fuzzy, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
-msgstr "<application>Ardour</application> biedt een scala aan output formaten, en om te weten welke je moet kiezen kan verwarrend zijn. Niet alle opties zijn beschikbaar met alle bestandstypen. Om juridische redenen ondersteunt Fedora Linux standaard geen MP3 bestandenaard. Voor meer informatie, refereer je naar <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+#, no-c-format
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
-msgstr "De regio's van de handleiding hebben 24-bit monsters, opgenomen met een 48 kHz snelheid. Het exporteren van enig deel van de sessie met een groter monster formaat of hogere monster frequentie zal waarschijnlijk leiden tot verminderde geluidskwaliteit."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
+msgstr ""
+"De regio's van de handleiding hebben 24-bit monsters, opgenomen met een 48 "
+"kHz snelheid. Het exporteren van enig deel van de sessie met een groter "
+"monster formaat of hogere monster frequentie zal waarschijnlijk leiden tot "
+"verminderde geluidskwaliteit."
#. Tag: para
#, no-c-format
@@ -2906,62 +5480,147 @@ msgstr "Aanbevolen bestandstypes:"
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
-msgstr "WAV: Een niet-gecomprimeerd formaat ontworpen door Microsoft. Alleen aanbevolen als verdere audio manipulatie bedoeld wordt. Voert alleen audio data uit, zodat informatie zoals titel, artiest en componist verloren zal gaan. Afspeelbaar met bijna elk apparaat."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
+msgstr ""
+"WAV: Een niet-gecomprimeerd formaat ontworpen door Microsoft. Alleen "
+"aanbevolen als verdere audio manipulatie bedoeld wordt. Voert alleen audio "
+"data uit, zodat informatie zoals titel, artiest en componist verloren zal "
+"gaan. Afspeelbaar met bijna elk apparaat."
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
-msgstr "AIFF: Een niet-gecomprimeerd formaat ontworpen door Apple. Alleen aanbevolen verdere audio manipulatie bedoeld wordt. Voert alleen audio data uit, zodat informatie zoals titel, artiest en componist verloren zal gaan. Afspeelbaar met bijna elke DAW en sommige audio spelers."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
+msgstr ""
+"AIFF: Een niet-gecomprimeerd formaat ontworpen door Apple. Alleen aanbevolen"
+" verdere audio manipulatie bedoeld wordt. Voert alleen audio data uit, zodat"
+" informatie zoals titel, artiest en componist verloren zal gaan. Afspeelbaar"
+" met bijna elke DAW en sommige audio spelers."
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
-msgstr "FLAC: Een open-bron gecomprimeerd formaat. Een \"verliesvrij\" formaat, wat betekent dat geen audio informatie verloren gaat tijdens compressie en decompressie. Audiokwaliteit is gelijk aan WAV of AIFF formaat. Kan metadata bevatten, dus informatie zoals titel, artiest en componist blijft behouden. Standaard breed ondersteund in Linux. Voor andere populaire besturingssystemen, refereer je naar <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> voor een lijst met toepassingen en programma's die FLAC bestanden kunnen afspelen. Dit is meestal de beste keuze voor het distribueren van hoge kwaliteit audio naar luisteraars."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
+msgstr ""
+"FLAC: Een open-bron gecomprimeerd formaat. Een \"verliesvrij\" formaat, wat "
+"betekent dat geen audio informatie verloren gaat tijdens compressie en "
+"decompressie. Audiokwaliteit is gelijk aan WAV of AIFF formaat. Kan metadata"
+" bevatten, dus informatie zoals titel, artiest en componist blijft behouden."
+" Standaard breed ondersteund in Linux. Voor andere populaire "
+"besturingssystemen, refereer je naar <citetitle>Download Extras (FLAC "
+"Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> voor een lijst "
+"met toepassingen en programma's die FLAC bestanden kunnen afspelen. Dit is "
+"meestal de beste keuze voor het distribueren van hoge kwaliteit audio naar "
+"luisteraars."
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
-msgstr "Ogg/Vorbis: Een open-bron gecomprimeerd formaat. Een \"lossy\" formaat, wat betekent dat sommige audio informatie verloren gaat tijdens compressie en decompressie. Audio kwaliteit is minder dan WAV of AIFF formaten, maar meestal beter dan MP3. Kan metadata bevatten, dus informatie zoals titel, artiest en componist blijft behouden. Standaard breed ondersteund in Linux. Voor andere populaire besturingssystemen, volg je de instructies op de <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" /> uit. Dit is een goede keuze voor het verspreiden van goede kwaliteit audio naar luisteraars. "
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
+msgstr ""
+"Ogg/Vorbis: Een open-bron gecomprimeerd formaat. Een \"lossy\" formaat, wat "
+"betekent dat sommige audio informatie verloren gaat tijdens compressie en "
+"decompressie. Audio kwaliteit is minder dan WAV of AIFF formaten, maar "
+"meestal beter dan MP3. Kan metadata bevatten, dus informatie zoals titel, "
+"artiest en componist blijft behouden. Standaard breed ondersteund in Linux. "
+"Voor andere populaire besturingssystemen, volg je de instructies op de "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/> uit. Dit is een goede keuze voor het verspreiden van goede kwaliteit "
+"audio naar luisteraars. "
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
-msgstr "Een hogere instelling voor het monster formaat (uitgelegd in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) kan een grotere hoeveelheid audio informatie per monster opslaan. 32 bit ondersteuning bestaat vrijwel niet, maar je hoeft dit formaat in de nabije toekomst waarschijnlijk niet gebruiken. Het \"float\" formaat slaat monsters op in een verschillend intern formaat, wat je slechts zelden nodig hebt."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
+msgstr ""
+"Een hogere instelling voor het monster formaat (uitgelegd in <xref linkend"
+"=\"sect-Musicians_Guide-Sample_Format\" />) kan een grotere hoeveelheid "
+"audio informatie per monster opslaan. 32 bit ondersteuning bestaat "
+"vrijwel niet, maar je hoeft dit formaat in de nabije toekomst waarschijnlijk"
+" niet gebruiken. Het \"float\" formaat slaat monsters op in een verschillend"
+" intern formaat, wat je slechts zelden nodig hebt."
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
-msgstr "Als je audio exporteert voor high-end apparatuur, of voor verdere verwerking, kies je het 24-bit formaat. Anders kies je het 16-bit formaat, wat het monster formaat is van audio CD's."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
+msgstr ""
+"Als je audio exporteert voor high-end apparatuur, of voor verdere "
+"verwerking, kies je het 24-bit formaat. Anders kies je het 16-bit formaat, "
+"wat het monster formaat is van audio CD's."
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
-msgstr "\"Sample endianness\" is een moeilijk te begrijpen concept, en het heeft geen effect op het resulterende audio - alleen hoe het opgeslagen wordt. Tenzij je een zeldzame PowerPC gebruikt, kies je de \"Little-endian (Intel)\" optie."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgstr ""
+"\"Sample endianness\" is een moeilijk te begrijpen concept, en het heeft "
+"geen effect op het resulterende audio - alleen hoe het opgeslagen wordt. "
+"Tenzij je een zeldzame PowerPC gebruikt, kies je de \"Little-endian "
+"(Intel)\" optie."
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
-msgstr "Een hogere monster frequentie (uitgelegd in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" />) staat toe dat een grotere hoeveelheid audio informatie opgeslagen wordt, maar verhoogt de grootte van audiobestanden."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
+msgstr ""
+"Een hogere monster frequentie (uitgelegd in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Rate\" />) staat toe dat een grotere hoeveelheid "
+"audio informatie opgeslagen wordt, maar verhoogt de grootte van "
+"audiobestanden."
#. Tag: para
-#, fuzzy, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
-msgstr "\"Conversion quality\" en \"dither type\" zijn geen beschikbare opties voor bestandsformaten aangeboden door Fedora Linux."
+#, no-c-format
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
+msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
-msgstr "Het \"CD Marker File Type\" laat je een CUE- of TOC-formaat lijst van CD tracks exporteren in het geëxporteerde bestand. Dit is nuttig als een gehele sessie geëxporteerd wordt, welke een gehele CD bevat, die vervolgens op en schijf gebrand gaat worden."
-
-#~ msgid "If you do not need both clocks, you can turn one of them off."
-#~ msgstr "Als je beide klokken niet nodig hebt, kun je er een uitzetten."
-
-#~ msgid "The material presented for your use is a folder containing an <application>Ardour</application> file and the associated audio files required to start the tutorial. The tutorial itself comprises the following sections about editing, mixing, and mastering (or exporting). The program used to record the audio files split the left and right channels into separate files, so they are imported into <application>Ardour</application>as separate regions. Therefore, the setup is more complex than it would be if the song were originally recorded in <application>Ardour</application>, but this gives the opportunity to learn in greater detail about busses, creating and using the stereo image, and volume level adjustments."
-#~ msgstr "Het materiaal gepresenteerd voor jouw gebruik is een map met een <application>Ardour</application> bestand en de bijbehorende audiobestanden nodig om de handleiding te starten. De handleiding zelf bevat de volgende secties over bewerken, mixen, en mastering (of exporteren). Het programma gebruikt om de audiobestanden op te nemen splitst de linker en rechter kanalen in afzonderlijke bestanden, dus ze worden in <application>Ardour</application> geïmporteerd als afzonderlijke regio's. Daarom is de opstelling complexer dan het zou zijn als het nummer oorspronkelijk opgenomen was in <application>Ardour</application>, maar dit geeft de mogelijkheid om in meer detail te leren over bussen, het aanmaken en gebruiken van het stereobeeld, en volumeniveau aanpassen."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
+msgstr ""
+"Het \"CD Marker File Type\" laat je een CUE- of TOC-formaat lijst van CD "
+"tracks exporteren in het geëxporteerde bestand. Dit is nuttig als een gehele"
+" sessie geëxporteerd wordt, welke een gehele CD bevat, die vervolgens op en "
+"schijf gebrand gaat worden."
-#~ msgid "The unique setup also means that none of the audio regions are in the right place on the timeline, and most of them require extensive editing. This would be bad if the objective of the tutorial were to create a finished version of the song as quickly as possible; but the objective is to learn how to use <application>Ardour</application>, and this is almost guaranteed."
-#~ msgstr "De unieke opstelling betekent ook dat geen van de audio regio's zich op de juiste plaats op de tijdlijn bevinden, en de meesten van hen vereisen uitgebreide bewerking. Dit zou slecht zijn als de doelstelling van de handleiding is om zo snel mogelijk een afgewerkte versie van het lied te maken; maar het doel is om te leren hoe <application>Ardour</application> gebruikt kan worden, en dat is bijna gegarandeerd."
-#~ msgid "!!EL!! Links to the files !!I!! I don't know where to put them!"
-#~ msgstr "!!EL!! Koppelingen naar de bestanden !!I!! Ik weet niet waar ze geplaatst moeten worden!"
diff --git a/or-IN/Ardour.po b/or-IN/Ardour.po
index 617ff93..c9c57d1 100644
--- a/or-IN/Ardour.po
+++ b/or-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: or_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/pa-IN/Ardour.po b/pa-IN/Ardour.po
index 617ff93..ca915cc 100644
--- a/pa-IN/Ardour.po
+++ b/pa-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: pa_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/pl-PL/Ardour.po b/pl-PL/Ardour.po
index 617ff93..71eb9d3 100644
--- a/pl-PL/Ardour.po
+++ b/pl-PL/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: pl_PL\n"
+"Plural-Forms: nplurals=3; plural=(n==1 ? 0 : n%10>=2 && n%10<=4 && (n%100<10 || n%100>=20) ? 1 : 2)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/pot/Ardour.pot b/pot/Ardour.pot
index 93380c1..1abacd9 100644
--- a/pot/Ardour.pot
+++ b/pot/Ardour.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Audacity.pot b/pot/Audacity.pot
index 4473367..1e9043f 100644
--- a/pot/Audacity.pot
+++ b/pot/Audacity.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Audio_Vocabulary.pot b/pot/Audio_Vocabulary.pot
index 8d6e844..5272c27 100644
--- a/pot/Audio_Vocabulary.pot
+++ b/pot/Audio_Vocabulary.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Author_Group.pot b/pot/Author_Group.pot
index 08ff279..f90ed44 100644
--- a/pot/Author_Group.pot
+++ b/pot/Author_Group.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Book_Info.pot b/pot/Book_Info.pot
index b890f7d..866b8a8 100644
--- a/pot/Book_Info.pot
+++ b/pot/Book_Info.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Chapter.pot b/pot/Chapter.pot
index adaa9a4..5389514 100644
--- a/pot/Chapter.pot
+++ b/pot/Chapter.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Contributors.pot b/pot/Contributors.pot
index d2d6f52..4c709ad 100644
--- a/pot/Contributors.pot
+++ b/pot/Contributors.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Digital_Audio_Workstations.pot b/pot/Digital_Audio_Workstations.pot
index b17cd9f..018592d 100644
--- a/pot/Digital_Audio_Workstations.pot
+++ b/pot/Digital_Audio_Workstations.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/FluidSynth.pot b/pot/FluidSynth.pot
index 1a2cb91..68cb8e1 100644
--- a/pot/FluidSynth.pot
+++ b/pot/FluidSynth.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Frescobaldi.pot b/pot/Frescobaldi.pot
index 38d608e..379c0fc 100644
--- a/pot/Frescobaldi.pot
+++ b/pot/Frescobaldi.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/LilyPond/LilyPond-counterpoint.pot b/pot/LilyPond/LilyPond-counterpoint.pot
index 402ed10..4d4e2a4 100644
--- a/pot/LilyPond/LilyPond-counterpoint.pot
+++ b/pot/LilyPond/LilyPond-counterpoint.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/LilyPond/LilyPond-orchestra.pot b/pot/LilyPond/LilyPond-orchestra.pot
index c53a07c..3517bef 100644
--- a/pot/LilyPond/LilyPond-orchestra.pot
+++ b/pot/LilyPond/LilyPond-orchestra.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/LilyPond/LilyPond-piano.pot b/pot/LilyPond/LilyPond-piano.pot
index 24b40f9..45065f9 100644
--- a/pot/LilyPond/LilyPond-piano.pot
+++ b/pot/LilyPond/LilyPond-piano.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/LilyPond/LilyPond-syntax.pot b/pot/LilyPond/LilyPond-syntax.pot
index 67ea986..fe76a66 100644
--- a/pot/LilyPond/LilyPond-syntax.pot
+++ b/pot/LilyPond/LilyPond-syntax.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/LilyPond/LilyPond.pot b/pot/LilyPond/LilyPond.pot
index d511636..7f7636a 100644
--- a/pot/LilyPond/LilyPond.pot
+++ b/pot/LilyPond/LilyPond.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Musicians_Guide.pot b/pot/Musicians_Guide.pot
index 4299233..fd3071a 100644
--- a/pot/Musicians_Guide.pot
+++ b/pot/Musicians_Guide.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Planet_CCRMA_at_Home.pot b/pot/Planet_CCRMA_at_Home.pot
index cbd6de2..ade5d96 100644
--- a/pot/Planet_CCRMA_at_Home.pot
+++ b/pot/Planet_CCRMA_at_Home.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Preface.pot b/pot/Preface.pot
index 1bd0495..c2a0b56 100644
--- a/pot/Preface.pot
+++ b/pot/Preface.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Qtractor.pot b/pot/Qtractor.pot
index 6e3a70b..e64accc 100644
--- a/pot/Qtractor.pot
+++ b/pot/Qtractor.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Real_Time_and_Low_Latency.pot b/pot/Real_Time_and_Low_Latency.pot
index f01037f..995df8a 100644
--- a/pot/Real_Time_and_Low_Latency.pot
+++ b/pot/Real_Time_and_Low_Latency.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14T16:55:49\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Revision_History.pot b/pot/Revision_History.pot
index fc4f186..e29333d 100644
--- a/pot/Revision_History.pot
+++ b/pot/Revision_History.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:50\n"
+"PO-Revision-Date: 2011-09-14T16:55:50\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Rosegarden.pot b/pot/Rosegarden.pot
index b6873f4..d7bf4dd 100644
--- a/pot/Rosegarden.pot
+++ b/pot/Rosegarden.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2011-09-14T16:11:12\n"
+"POT-Creation-Date: 2011-09-14T16:55:50\n"
+"PO-Revision-Date: 2011-09-14T16:55:50\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Solfege.pot b/pot/Solfege.pot
index 0e9bc02..ad169c7 100644
--- a/pot/Solfege.pot
+++ b/pot/Solfege.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:13\n"
-"PO-Revision-Date: 2011-09-14T16:11:13\n"
+"POT-Creation-Date: 2011-09-14T16:55:50\n"
+"PO-Revision-Date: 2011-09-14T16:55:50\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Sound_Cards.pot b/pot/Sound_Cards.pot
index 9987ed2..777a6f0 100644
--- a/pot/Sound_Cards.pot
+++ b/pot/Sound_Cards.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:13\n"
-"PO-Revision-Date: 2011-09-14T16:11:13\n"
+"POT-Creation-Date: 2011-09-14T16:55:50\n"
+"PO-Revision-Date: 2011-09-14T16:55:50\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/Sound_Servers.pot b/pot/Sound_Servers.pot
index dc9e1af..68f3b6e 100644
--- a/pot/Sound_Servers.pot
+++ b/pot/Sound_Servers.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:13\n"
-"PO-Revision-Date: 2011-09-14T16:11:13\n"
+"POT-Creation-Date: 2011-09-14T16:55:50\n"
+"PO-Revision-Date: 2011-09-14T16:55:50\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/SuperCollider/SuperCollider-Basic_Programming.pot b/pot/SuperCollider/SuperCollider-Basic_Programming.pot
index b60ae9a..17209ab 100644
--- a/pot/SuperCollider/SuperCollider-Basic_Programming.pot
+++ b/pot/SuperCollider/SuperCollider-Basic_Programming.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:13\n"
-"PO-Revision-Date: 2011-09-14T16:11:13\n"
+"POT-Creation-Date: 2011-09-14T16:55:50\n"
+"PO-Revision-Date: 2011-09-14T16:55:50\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/SuperCollider/SuperCollider-Composing.pot b/pot/SuperCollider/SuperCollider-Composing.pot
index 43e222e..127eefb 100644
--- a/pot/SuperCollider/SuperCollider-Composing.pot
+++ b/pot/SuperCollider/SuperCollider-Composing.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:13\n"
-"PO-Revision-Date: 2011-09-14T16:11:13\n"
+"POT-Creation-Date: 2011-09-14T16:55:50\n"
+"PO-Revision-Date: 2011-09-14T16:55:50\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/SuperCollider/SuperCollider-Exporting.pot b/pot/SuperCollider/SuperCollider-Exporting.pot
index 7a600a6..db1d9df 100644
--- a/pot/SuperCollider/SuperCollider-Exporting.pot
+++ b/pot/SuperCollider/SuperCollider-Exporting.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:13\n"
-"PO-Revision-Date: 2011-09-14T16:11:13\n"
+"POT-Creation-Date: 2011-09-14T16:55:50\n"
+"PO-Revision-Date: 2011-09-14T16:55:50\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pot/SuperCollider/SuperCollider.pot b/pot/SuperCollider/SuperCollider.pot
index abb9941..4710e42 100644
--- a/pot/SuperCollider/SuperCollider.pot
+++ b/pot/SuperCollider/SuperCollider.pot
@@ -4,8 +4,8 @@
msgid ""
msgstr ""
"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:13\n"
-"PO-Revision-Date: 2011-09-14T16:11:13\n"
+"POT-Creation-Date: 2011-09-14T16:55:50\n"
+"PO-Revision-Date: 2011-09-14T16:55:50\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
"MIME-Version: 1.0\n"
diff --git a/pt-BR/Ardour.po b/pt-BR/Ardour.po
index 617ff93..7fb0d61 100644
--- a/pt-BR/Ardour.po
+++ b/pt-BR/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:08+0000\n"
"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Language-Team: Portuguese (Brazilian) <trans-pt_br at lists.fedoraproject.org>\n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: pt_BR\n"
+"Plural-Forms: nplurals=2; plural=(n > 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/pt-PT/Ardour.po b/pt-PT/Ardour.po
index 617ff93..6203ea5 100644
--- a/pt-PT/Ardour.po
+++ b/pt-PT/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:10+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: pt_PT\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/sr-RS/Ardour.po b/sr-RS/Ardour.po
index 617ff93..7d38bff 100644
--- a/sr-RS/Ardour.po
+++ b/sr-RS/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: sr_RS\n"
+"Plural-Forms: nplurals=3; plural=(n%10==1 && n%100!=11 ? 0 : n%10>=2 && n%10<=4 && (n%100<10 || n%100>=20) ? 1 : 2)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/sv-SE/Ardour.po b/sv-SE/Ardour.po
index 617ff93..4af8e28 100644
--- a/sv-SE/Ardour.po
+++ b/sv-SE/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: sv_SE\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/ta-IN/Ardour.po b/ta-IN/Ardour.po
index 617ff93..c59009b 100644
--- a/ta-IN/Ardour.po
+++ b/ta-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: ta_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/te-IN/Ardour.po b/te-IN/Ardour.po
index 617ff93..2810109 100644
--- a/te-IN/Ardour.po
+++ b/te-IN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:09+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: te_IN\n"
+"Plural-Forms: nplurals=2; plural=(n != 1)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/uk-UA/Ardour.po b/uk-UA/Ardour.po
index 617ff93..8add97d 100644
--- a/uk-UA/Ardour.po
+++ b/uk-UA/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:08+0000\n"
"Last-Translator: Automatically generated\n"
"Language-Team: None\n"
-"Language: \n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: uk_UA\n"
+"Plural-Forms: nplurals=3; plural=(n%10==1 && n%100!=11 ? 0 : n%10>=2 && n%10<=4 && (n%100<10 || n%100>=20) ? 1 : 2)\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/zh-CN/Ardour.po b/zh-CN/Ardour.po
index 617ff93..3348d32 100644
--- a/zh-CN/Ardour.po
+++ b/zh-CN/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:10+0000\n"
"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Language-Team: Chinese (China) (http://www.transifex.net/projects/p/fedora/team/zh_CN/)\n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: zh_CN\n"
+"Plural-Forms: nplurals=1; plural=0\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
diff --git a/zh-TW/Ardour.po b/zh-TW/Ardour.po
index 617ff93..7622baf 100644
--- a/zh-TW/Ardour.po
+++ b/zh-TW/Ardour.po
@@ -1,17 +1,19 @@
-#
# AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+#
+# Translators:
msgid ""
msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2011-09-14T16:11:12\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"Report-Msgid-Bugs-To: https://bugzilla.redhat.com/\n"
+"POT-Creation-Date: 2011-09-14T16:55:49\n"
+"PO-Revision-Date: 2011-09-14 17:10+0000\n"
"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Language-Team: Chinese (Taiwan) <trans-zh_TW at lists.fedoraproject.org>\n"
"MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
+"Language: zh_TW\n"
+"Plural-Forms: nplurals=1; plural=0\n"
#. Tag: title
#, no-c-format
@@ -20,7 +22,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
msgstr ""
#. Tag: title
@@ -35,7 +39,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
msgstr ""
#. Tag: title
@@ -45,7 +52,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -55,7 +67,14 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
msgstr ""
#. Tag: title
@@ -65,7 +84,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
msgstr ""
#. Tag: title
@@ -75,7 +98,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
msgstr ""
#. Tag: title
@@ -85,12 +113,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
msgstr ""
#. Tag: title
@@ -100,7 +137,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
msgstr ""
#. Tag: title
@@ -130,7 +171,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
msgstr ""
#. Tag: title
@@ -170,7 +215,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
msgstr ""
#. Tag: title
@@ -195,7 +246,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
msgstr ""
#. Tag: title
@@ -240,7 +299,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
msgstr ""
#. Tag: title
@@ -250,22 +319,31 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. If you do not need both clocks, you can turn off one of them. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. If you do"
+" not need both clocks, you can turn off one of them. Right-click the clocks "
+"to choose what you want them to display:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
msgstr ""
#. Tag: para
@@ -275,12 +353,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more information about time measurement."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Time\" /> for more "
+"information about time measurement."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
msgstr ""
#. Tag: para
@@ -290,17 +374,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The middle menu controls where to place the grid lines: by SMPTE timecode, by clock time, by beats and bars, or by regions."
+msgid ""
+"The middle menu controls where to place the grid lines: by SMPTE timecode, "
+"by clock time, by beats and bars, or by regions."
msgstr ""
#. Tag: title
@@ -315,12 +405,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part of the transport. The nudge tool moves a selected region or regions forward or back in the session by a specific amount. The <guibutton><</guibutton> button moves regions back in the session. The <guibutton>></guibutton> button moves regions forward in the session. If no regions are selected, the nudge tool moves the transport head. The display to the right of the <guibutton>></guibutton> button tells you how far a selected region would move. In this case, the nudge tool moves regions by 5 seconds."
+msgid ""
+"<xref linkend=\"ardour_interface_nudge_pane\" /> shows the nudge pane, part "
+"of the transport. The nudge tool moves a selected region or regions forward "
+"or back in the session by a specific amount. The <guibutton><</guibutton>"
+" button moves regions back in the session. The <guibutton>></guibutton> "
+"button moves regions forward in the session. If no regions are selected, the"
+" nudge tool moves the transport head. The display to the right of the "
+"<guibutton>></guibutton> button tells you how far a selected region would"
+" move. In this case, the nudge tool moves regions by 5 seconds."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The timeline contains many <firstterm>rulers</firstterm> that show different time-marking scales. The timeline is located at the top of the canvas area, below the toolbars. Use the context menu (<keycombo><mousebutton>right-click</mousebutton></keycombo>) to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline contains many <firstterm>rulers</firstterm> that show different"
+" time-marking scales. The timeline is located at the top of the canvas area,"
+" below the toolbars. Use the context menu (<keycombo><mousebutton>right-"
+"click</mousebutton></keycombo>) to select which rulers you want to display. "
+"The rulers you should choose depends on the clock settings and the snap "
+"mode."
msgstr ""
#. Tag: title
@@ -330,7 +434,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: title
@@ -340,7 +446,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
msgstr ""
#. Tag: title
@@ -350,7 +461,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
msgstr ""
#. Tag: para
@@ -365,7 +478,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
msgstr ""
#. Tag: para
@@ -375,12 +490,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
msgstr ""
#. Tag: para
@@ -395,7 +513,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
msgstr ""
#. Tag: para
@@ -415,22 +534,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
msgstr ""
#. Tag: title
@@ -445,7 +581,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
msgstr ""
#. Tag: para
@@ -455,12 +593,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
msgstr ""
#. Tag: para
@@ -470,12 +611,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
@@ -485,7 +632,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
msgstr ""
#. Tag: para
@@ -495,27 +645,41 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
msgstr ""
#. Tag: para
@@ -530,17 +694,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
msgstr ""
#. Tag: para
@@ -560,27 +734,47 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3 dB and -6 dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3 dB and -6 dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40 dB; it should probably be between -30 dB and -20 dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40 dB; it should probably be between -30 dB and "
+"-20 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20 dB to -10 dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20 dB to -10 dB."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
msgstr ""
#. Tag: title
@@ -590,7 +784,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
msgstr ""
#. Tag: para
@@ -600,7 +797,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View > Show Editor Mixer'"
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"> Show Editor Mixer'"
msgstr ""
#. Tag: para
@@ -610,7 +809,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
msgstr ""
#. Tag: para
@@ -620,7 +822,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
msgstr ""
#. Tag: para
@@ -630,7 +834,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
msgstr ""
#. Tag: para
@@ -640,7 +846,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
msgstr ""
#. Tag: para
@@ -650,17 +857,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
msgstr ""
#. Tag: para
@@ -685,7 +900,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
msgstr ""
#. Tag: title
@@ -695,12 +913,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
msgstr ""
#. Tag: para
@@ -730,12 +955,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
msgstr ""
#. Tag: para
@@ -745,7 +992,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
msgstr ""
#. Tag: para
@@ -760,22 +1011,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
msgstr ""
#. Tag: para
@@ -790,7 +1052,13 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
msgstr ""
#. Tag: para
@@ -800,12 +1068,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
msgstr ""
#. Tag: para
@@ -825,7 +1100,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
msgstr ""
#. Tag: title
@@ -835,67 +1112,119 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
msgstr ""
#. Tag: title
@@ -905,7 +1234,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
msgstr ""
#. Tag: para
@@ -915,7 +1248,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
msgstr ""
#. Tag: para
@@ -955,22 +1290,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
msgstr ""
#. Tag: para
@@ -980,32 +1332,48 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
msgstr ""
#. Tag: title
@@ -1015,22 +1383,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and raw audio source files were later released with the Creative Commons Attribution-NonCommercial-ShareAlike licence, available on the Internet at <ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and raw "
+"audio source files were later released with the Creative Commons "
+"Attribution-NonCommercial-ShareAlike licence, available on the Internet at "
+"<ulink url=\"http://creativecommons.org/licenses/by-nc-sa/3.0/\" />. For "
+"more information on the artist, please refer to her <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial files are an <application>Ardour</application> project folder, and the audio files themselves. Follow these steps to set up the tutorial."
+msgid ""
+"The tutorial files are an <application>Ardour</application> project folder, "
+"and the audio files themselves. Follow these steps to set up the tutorial."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download the <application>Ardour</application> project folder from <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. Uncompress the file in a directory where you have at least 1 GiB of free disk space."
+msgid ""
+"Download the <application>Ardour</application> project folder from <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma\" />. "
+"Uncompress the file in a directory where you have at least 1 GiB of "
+"free disk space."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Download all of the audio files from <ulink url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put the files in the <filename class=\"directory\">Interchange/FMG-HereIsHow/audiofiles</filename> subdirectory of the <application>Ardour</application> project folder from the previous step."
+msgid ""
+"Download all of the audio files from <ulink "
+"url=\"http://soundcloud.com/fedoraproject/sets/fmg-ardour-tutorial\" />. Put"
+" the files in the <filename class=\"directory\">Interchange/FMG-"
+"HereIsHow/audiofiles</filename> subdirectory of the "
+"<application>Ardour</application> project folder from the previous step."
msgstr ""
#. Tag: title
@@ -1040,12 +1429,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
msgstr ""
#. Tag: title
@@ -1055,12 +1453,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
msgstr ""
#. Tag: para
@@ -1085,7 +1497,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
msgstr ""
#. Tag: para
@@ -1095,22 +1509,30 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
msgstr ""
#. Tag: para
@@ -1155,12 +1577,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
msgstr ""
#. Tag: para
@@ -1215,7 +1644,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
msgstr ""
#. Tag: para
@@ -1225,32 +1658,49 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
msgstr ""
#. Tag: title
@@ -1260,52 +1710,84 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View > Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"> Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
msgstr ""
#. Tag: para
@@ -1315,7 +1797,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
msgstr ""
#. Tag: para
@@ -1325,17 +1808,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
msgstr ""
#. Tag: para
@@ -1350,17 +1839,23 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
msgstr ""
#. Tag: para
@@ -1370,27 +1865,39 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
msgstr ""
#. Tag: para
@@ -1405,7 +1912,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
msgstr ""
#. Tag: para
@@ -1415,12 +1924,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
msgstr ""
#. Tag: para
@@ -1430,7 +1943,8 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
msgstr ""
#. Tag: title
@@ -1445,17 +1959,29 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
msgstr ""
#. Tag: para
@@ -1465,47 +1991,85 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
msgstr ""
#. Tag: title
@@ -1515,7 +2079,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
msgstr ""
#. Tag: para
@@ -1525,62 +2094,117 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
msgstr ""
#. Tag: para
@@ -1595,7 +2219,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
msgstr ""
#. Tag: para
@@ -1605,7 +2231,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
msgstr ""
#. Tag: para
@@ -1615,12 +2243,17 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
msgstr ""
#. Tag: para
@@ -1630,17 +2263,24 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
msgstr ""
#. Tag: para
@@ -1650,17 +2290,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
msgstr ""
#. Tag: title
@@ -1670,7 +2319,16 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
msgstr ""
#. Tag: title
@@ -1680,12 +2338,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
msgstr ""
#. Tag: para
@@ -1725,12 +2391,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
msgstr ""
#. Tag: title
@@ -1740,12 +2413,20 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
msgstr ""
#. Tag: para
@@ -1755,57 +2436,86 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
msgstr ""
#. Tag: title
@@ -1815,12 +2525,19 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
msgstr ""
#. Tag: para
@@ -1830,22 +2547,33 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
msgstr ""
#. Tag: title
@@ -1855,12 +2583,18 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
msgstr ""
#. Tag: para
@@ -1890,7 +2624,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
msgstr ""
#. Tag: title
@@ -1900,42 +2636,60 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
msgstr ""
#. Tag: para
@@ -1945,7 +2699,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
msgstr ""
#. Tag: para
@@ -1955,42 +2711,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
msgstr ""
#. Tag: para
@@ -2000,7 +2780,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
msgstr ""
#. Tag: title
@@ -2015,12 +2798,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
msgstr ""
#. Tag: title
@@ -2035,22 +2827,32 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
msgstr ""
#. Tag: title
@@ -2070,12 +2872,22 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
msgstr ""
#. Tag: title
@@ -2085,82 +2897,127 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Notice that <application>Ardour</application> puts > and < around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts > and < around the "
+"name of the region, in the canvas area."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
msgstr ""
#. Tag: para
@@ -2170,42 +3027,68 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
msgstr ""
#. Tag: para
@@ -2215,17 +3098,26 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
msgstr ""
#. Tag: title
@@ -2235,52 +3127,80 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
msgstr ""
#. Tag: title
@@ -2290,37 +3210,58 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
msgstr ""
#. Tag: title
@@ -2330,17 +3271,27 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
msgstr ""
#. Tag: title
@@ -2350,17 +3301,25 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
msgstr ""
#. Tag: title
@@ -2370,7 +3329,11 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
msgstr ""
#. Tag: title
@@ -2380,17 +3343,37 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
msgstr ""
#. Tag: title
@@ -2400,22 +3383,40 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
msgstr ""
#. Tag: para
@@ -2425,42 +3426,66 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window > Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window > Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
msgstr ""
#. Tag: title
@@ -2470,32 +3495,55 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window > Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window > Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
msgstr ""
#. Tag: para
@@ -2505,27 +3553,45 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
msgstr ""
#. Tag: title
@@ -2535,17 +3601,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
msgstr ""
#. Tag: para
@@ -2555,92 +3655,157 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just
after the highest singer, who is the soloist."
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
msgstr ""
#. Tag: para
@@ -2655,17 +3820,34 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
msgstr ""
#. Tag: para
@@ -2675,27 +3857,43 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
msgstr ""
#. Tag: para
@@ -2705,27 +3903,44 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
msgstr ""
#. Tag: title
@@ -2735,7 +3950,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
msgstr ""
#. Tag: para
@@ -2745,32 +3963,51 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Have a friend--or at least somebody else--listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend--or at least somebody else--listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
msgstr ""
#. Tag: title
@@ -2780,7 +4017,12 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
msgstr ""
#. Tag: title
@@ -2790,7 +4032,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
msgstr ""
#. Tag: para
@@ -2840,7 +4084,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
msgstr ""
#. Tag: para
@@ -2860,7 +4106,9 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "From the menu, select 'Session > Export > Export > Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session > Export > Export > Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
msgstr ""
#. Tag: title
@@ -2870,7 +4118,10 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
msgstr ""
#. Tag: title
@@ -2880,7 +4131,15 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
msgstr ""
#. Tag: title
@@ -2890,12 +4149,21 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. &OPERATING_SYSTEM; does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. &OPERATING_SYSTEM; does not support MP3 files by "
+"default, for legal reasons. For more information, refer to <citetitle>MP3 "
+"(Fedora Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
msgstr ""
#. Tag: para
@@ -2905,50 +4173,98 @@ msgstr ""
#. Tag: para
#, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32 bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in &OPERATING_SYSTEM;."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in &OPERATING_SYSTEM;."
msgstr ""
#. Tag: para
#, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
msgstr ""
+
+
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