Chaff

B E T A for The Psalms

David Blue's Handy Test Document™

Updated 03142023-154710

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This is actually a somewhat functional page. If you've arrived here, it'd better be for [**development purposes**](https://github.com/extratone/chaff) *only* or i will tell Chuck Snowden abt u.

https://www.instagram.com/p/BLwHiPkBbXG

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h1 Heading 8-)

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Body Text

In the right hour, the woodland springtime metamorphic processes of the neighboring Lake Geneva suburb’s in-betweens were in a paused state – the toads again hushed; the crickets tired, and the human populace, too. In the right hour, the fickle wind and the social owls were the only sound, and nothing moved but the sparse, light-footed doe in careful segments with her fawn. From the main gated lane of The Nice, Huge Estate, Lenny Lather slid through the muddy barrier and started bouncing West on the blacktop, brogues squeaking every third step. The overcasted clouds were having trouble deciding whether or not to let down their rain – as they had been all day – and the old, heavy early-March mist softened the yellow glow of the tall, buzzing streetlamps so much that he couldn’t help but intermittently wipe his eyes, for the spreading light convinced his mind that his eyelashes must’ve been wetted.

Theodore Pith’s big old house was now burrowed between two mismatched neighborhoods – the bleaker Easterly, which was too new for its alien trees to have recovered from the brutality of its development’s clear-cutting and contained within one of its central featureless backyards an unidentifiable creature which made all through the night the most unimaginably ghastly, disturbingly human child-like shrieking; the opposing Westerly’s trees further enough along in their regrowth – ten or twenty years perhaps – to appear more of the planet Earth to Manhattan-bred Lenny Lather, who still found the colorless destruction of suburbia unendingly upsetting, especially when coming down. In the interest of his regular withdrawal’s mitigation, he had already established two short, repeatable tracks and a longer, several mile-long loop which skirted him sufficiently around the East’s center to avoid hearing the shrieks in all but the stillest nights. Never in his years – on these walks he was especially reminded of just how many there were – had he been able to feel such absolute ownership of his surroundings. The eroding Earth slipping away from the hem of the warped, stained wood fences; the sidewalks, cracked, bent, sloped helter-skelter, often muddied in the troughs and joints – generally laying haphazardly in layers after having been steadily tossed about by the glacial forces of their intermixture with clay, precipitation, and the tumultuous temperature-dependent torture of the two – these were his, entirely, in the right hour. Between two and five in the morning when the earliest risers would blearily revive their dewy automobiles from long, silent hibernation, the whole world – everything in his sight and more at any moment – it was all his, without a single worthy challenger.

In the right hour, the roads were completely and totally abandoned – for the New Yorker, an unfathomable absolute – and all humanity was at rest. In the right hour, Lenny Lather was the appointed guardian of the worn domesticity of a small nation, though the lonely occupation was astoundingly lax, for in the miles and miles of empty streets he had already traversed in his nightly holidays from the World of Pith, he had yet to encounter a single unexpected factor or minutely threatening presence. Since shortly after his December arrival, he’d walked through even the most frigid mornings. Of course, the stillness had then been even more otherworldly, and Lenny was curious to see how his new most private domain would change with the seasons. Though the auxiliary guest room which he now called home was no smaller or less hospitable than the master bedroom of his late Hudson Yards flat shared with his late Wife, it proved to be a poor respite from Theodore Pith, who treated him – when they were “home” at Nice, Huge – as the puppy he never had, and expected his participation to remain entirely vulnerable to his any whim. Granted – in their shared abuse of amphetamines, cocaine, and assorted other stimulants – Lenny Lather was vastly more prepared for the games than any circadian guest could’ve possibly been. At first, the ten-foot door of his dawn-facing room had closed without latching, but with the warmth and moisture brought with the Midwestern Spring, the most secure state in which the engorged wood could be forcibly arranged still left a half-inch crack, and Lather’s last chance of privacy was lost.

The latest favorite pastime of Nice, Big’s Master necessitated a willing, capable driver, and – as keeping a single Butler (much less an entire household staff) was proving extremely difficult for him – Lenny Lather was the sole pick of the draft. In the earliest hours of one Tuesday morning in February, he’d been pleasantly dosing and drooling on his laptop after an evening of obsessive, incoherent notetaking when the huge door had been kicked ajar by a deep black, blindingly shiny oxford with excessively violent force. Attached to the shoe in an equally blinding penguin tuxedo, towering bowler hat, and cartoonish fake mustache was the Great, Blown Pith.

“Hope you’re not busy,” he’d said quite loudly to the lolling Lather, leaning and tilting his head into the lamp light, which had dislodged his monocle and briefly occupied him with untangling its chain.

…

“You’re not busy, are ya?!” he’d shouted, tapping the shiny brass lion’s head of his shiny black cane against the vanity… then swatting it with a flicking wrist… then clubbing it with a full, two-handed homerun swing – taking huge, vaguely cat nose-shaped gouges from the surface of the wood. The splintery wood chips had rained down upon the hunched Lenny; he’d stirred with one found its way in his open mouth – he’d chewed it slowly and swallowed it, but he still had not awoken. Nevertheless, Theodore Pith’s coked-up enthusiasm couldn’t possibly have yielded to common decencies like his guest’s nighttime peace.

…

“SHOOT, LENNY,” he’d screamed in his companion’s ear, having traversed the room to his bedside.

“I SURE HOPE YOU’RE NOT BUSY RIGHT NOW!”

…

Finally, he’d resorted to tickling Lenny’s nose with the ornament, which had reeked with the urinal smell of metal polish – the sudden, overwhelming delivery of which to the writer’s olfactory nerves finally causing ample alarm in his nervous system to justify bringing him abruptly back to his life and deluded host.

“I need a favor. The Duesie’s warming up. We’re going for a ride.”

Unable to form a linguistic response, Lenny Lather had obeyed Theo’s frenzied, repeating instructions and stumbled into the matching suit he’d brought over his arm – wondering with marginal, arrested clarity at how well-tailored it was for him. He had not the soundness of perception to protest when Pith had whipped a deep black, blindingly shiny bowtie around his already-congested esophagus, nor when he’d adheased the huge, itchy matching fake moustache to his upper lip and nearly pulled the matching Tower of Bowler all the way down over his ears. He had been unresponsive when he’d been sat on the bench under the agonizing fluorescent lights of the laundry room, affixed with deep black, blindingly shiny matching oxfords, and asked if he smoked and how well he could say guffaw.

…

“Just wait… you have no idea… you have no idea how much fun this is going to be.”

Lenny Lather had not… could not have made a sound through the confusing nonsense of his waking pre-Great Depression dream, but when the old servant’s door had been opened before him and set the heartless, single-digit Winter wind upon his very soul, he had all at once arrived in the world, laughing and whooping together with Theodore Pith.

“Jesus Christ!” he’d screamed as they’d hobbled to the stable, where a devilishly dark red Model J Duesenberg had sat shivering in a rough idle, staring out the retrofitted garage door with its basketball-sized lights as if it was, indeed, a flesh-and-blood steed that had just been frightened awake by a thunderstorm, but the sky had been as clear as it would’ve been from an asteroid – as it is only on the coldest nights – and almost comically dominated by the setting, gluttonously luminescent moon. Theodore had then grabbed a screwdriver from the workbench and bent down to remove the license plate – which had said BLOOD in big black bold block letters – and its containing frame. By the time he had settled into the frigid red leather of the exposed, roofless driver’s seat, Lenny Lather was full-to-bursting with adrenaline and laughing out huge streams of breathy steam. From behind him in the cabin, Pith had been guffawing plumes, too, as he’d briefly ignited his cocaine-sprinkled mustache instead of the bratwurst-sized cigar between his teeth. The smell of burning human hair had accented his explanation of the old car’s transmission and its direct path from source-to-nose for Pith had required a brief, unplanned intermission as it induced without warning his violent heaving – still part-guffawing – hanging half out of his beautifully-upholstered suicide door.

As he had spewed – expertly sparing the swoop of the gleaming waxy fender – Lenny had found a pair of deep black, blindingly shiny gloves and – after less grinding than you would imagine, to his credit – first gear, setting the whole dastardly circus in motion.

“Where to, Sire?” Lenny had asked, nose lifted to an untenable altitude in a pitiful approximation of an accent that’d never actually been used before by any person or persons in all of history, struggling for breath.

“Left at the gates, Barnsward, old chap,” Theodore had replied in a contrasting fashion after again sitting upright from his heaves and taking a breath, ironing out – if anything – the flatness of his perforating Ohio Ds and Ps, resulting in such a culturally destructive racket that it had set both of them in uncontrollable, cloudy fits lasting long after Lather had swerved the great length of the car from the gravel to his abandoned asphalt retreat. The two had continued their banter down that soul-suckingly flat vector, one-upping each other’s etymologic barbarity against the savage thievery of the heatless wind.

“Now to star-board, Budleigh, my good fellow!”

…

“Right-o, as you say, sir!”

…

“Down to the pu-hb for a spaht of brahn-dee with me mae-its!”

…

“Oncemo-ar right, pip pip!”

…

“By jah-lee, there we are!”

…

After the entirety of Northern European history had been decimated and subsequently forgotten, the Duesenberg named BLOOD had turned its orange, googley-eyed stare and narrow whitewalled hooves up the reflective, freshly-painted access of the new 24-hour grocery in the no-man’s-land between the cookie-cutter stares of the neatly-rowed Easterly neighborhood and the droning respiration of Interstate 43, two miles distant. It was 2:12 in the morning and most of the greasy-haired night stocking shift had been halfway through their third smoke break, circled around a store-used picnic table 50 yards from the far sliding airlock doors. The first to spot BLOOD had been the second shortest of the lot, whose weary scrutiny along the truest radian to the West from under his sweaty beanie in her entrance she had crossed, and the depth of her red as he first spied it had caused him vertigo – as if he would fall in – and cast upon the shorter-than-average length of his being an all-consuming existential doubt. The tallest and loudest of them had faced squarest the white faux-brick wall of the box building and was at that moment engaged upon a spirited rant about where and where’nt and when a vapist ought to buy his Suck juice between long, gasping Sucks from his super-shiny Suck box. Of course, the arrival of a customer even at such a late hour did not warrant notice at a huge, broadly-servicing operation like theirs, but as BLOOD had crept through all four reflective yellow-checkered pedestrian crossings, closing without a flinch, and the details of her occupying caricatures had become more and more numerous, she had stolen the attention of the huddle, one-by-one, and elicited from each the rarest under-breath profanity of true, unmolested wonder.

“Jesus Christ,” had said the shortest.

“Holy fuck,” had said the youngest.

“Gee whiz,” had said the oldest.

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Over the past few months, I've started several Posts for this blog regarding Twitter, its properties, and its recent feature addition frenzy which I'll probably never finish. I finished the first and narrowest one: my Tweetbot 6 “review,” but the (debatably) most important one – highlighting how irresponsibly and distastefully Twitter butchered Periscope and built Spaces atop its technology – would make less and less sense as time goes on. I definitely got caught up in the “death” of the live video streaming service, fueled by my now quite old desire to celebrate it[^1],

[^1]: Because I feel guilty about taking it for granted.

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### Spotify Below is the raw URL to an open.spotify podcast episode link. https://open.spotify.com/episode/65yv6gvutNjjCrF4oeQFlc ` End ` ### Are.na Below is the raw URL to an individual Arena block. https://www.are.na/block/5507359 ` End ` ### Gists Below is a Gist example posted in Raw URL form https://gist.github.com/extratone/614effdd51bac74793ef627a1174e972 ` End ` ### Instagram Below is a *single-photo* public Instagram post URL http://instagram.com/p/CMyh12Ahhhf ` End ` ### Mixcloud Below is a raw Mixcloud URL to a medium-length stream. https://www.mixcloud.com/davod/тнαиkfυl-fσя-bαиdcαмρ-2018-мix/ ` End ` ### Last.fm Below is a raw Last.fm URL to an individual track. https://www.last.fm/music/Kalibration/_/A+Halting+Machine ` End ` And now to an artist(?) https://www.last.fm/music/Kalibration ` End ` And now to a user profile. https://www.last.fm/user/Crazyhooligin ` End ` ### Imgur https://imgur.com/gallery/GcpLylS ` End ` ### Apple Music (Embed)

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[]()TeamSpeak Inc.,

Privacy statement and Terms & Conditions

Table of Contents

Data protection declaration  1

  1. Scope 1
  2. Service provider 1
  3. Information 1
  4. Revocation 1
  5. Use of cookies 1
  6. Informational use of the websites operated by TeamSpeak USA 1
  7. Data collection when purchasing licenses for the software solutions via Teamspeak.com 1
  8. Data collection when downloading the TS3 Client 1
  9. Data collection, storage and processing when using the TS3 Client (PC) 1
  10. Server rent 1
  11. Use of the forum 1
  12. Uploading and downloading Add Ons 1
  13. Use of the online inquiry; order by e-mail, fax or telephone 1
  14. Social networks and third-party services 1
  15. Passing on data to third parties 1
  16. Web tracking 1
  17. Data security 1
  18. Privacy Shield regulations 1
  19. Data Protection Officer 1

General business Terms and Customer Information of TeamSpeak Systems, Inc. 1

  1. General Terms and Conditions 1
  2. Scope 1
  3. Entrepreneurial status 1
  4. Subject matter of the contract 1
  5. Terms and Conditions for the conclusion of the contract 1
  6. Conclusion of the contract for the licensing of the software solutions 1
  7. Conclusion of a contract for the brokerage of server places 1
  8. Conclusion of the client licensing agreement 1
  9. Conclusion of the contract concerning the uploading and downloading of Add Ons 1
  10. Conclusion of the contract for the use of the forum 1
  11. Special provisions for the respective contracts for individual services 1
  12. License fees for the use of the software solutions 1
  13. Pricing and terms of payment for the licensing of the software solutions 1
  14. Termination of license agreements for the software solutions 1
  15. Obligations of the customer when using the client 1
  16. Termination of the client licensing agreements 1
  17. Publication of contributions in the forum 1
  18. Cancellation of the user account for the forum 1
  19. Release of Add Ons 1
  20. Termination of the customer account as a developer 1
  21. General terms and conditions 1
  22. Warranty 1
  23. Liability 1
  24. Offsetting, rights of retention and assignment 1
  25. Text form 1
  26. Applicable law and place of jurisdiction 1
  27. customer information 1
  28. Identity of the provider 1
  29. Information regarding the conclusion of the contract 1
  30. Contract language, contract text storage 1
  31. Essential characteristics of the goods and services 1
  32. Prices and payment methods 1
  33. Statutory liability for defects 1
  34. Term of contract, termination 1

 

[]()Data protection declaration

[]()[]()1. Scope

1.1 Below you will find information about the collection, storage and processing of personal data by TeamSpeak Systems Inc, PO Box 211180, Chula Vista, CA, 91921 USA (hereinafter TeamSpeak USA) and TeamSpeak Systems GmbH, Soiernstr. 1, 82494 Krün, entered in the Register of Companies of the Munich District Court under the registration number HRB 172523 (hereinafter TeamSpeak DE; hereinafter both companies together as TeamSpeak) under the domains teamspeak.com, teamspeakusa.com and myteamspeak.com (hereinafter referred to jointly as “Teamspeak.com” and “Myteamspeak.com” and all three collectively referred to as “Website/s”), which may also be accessed as a mobile version. This applies in particular – but not only – to the download of the software solutions “TS3 Client” and “TeamSpeak 3 SDK” (hereinafter jointly referred to as “Software Solutions”), the download and use of the “TS3 Client” (for PC or mobile devices), the participation in the forum and the uploading and downloading of own software programs which are compatible with the software solutions of TeamSpeak and released by TeamSpeak (hereinafter referred to as “Add Ons”).

1.2 Personal data are all data that can be traced back to you personally, i.e. could be connected with your person. These are in particular name, e-mail address, address, telephone number, user behaviour, IP address, etc.

[]()[]()2. Service provider

2.1 (Joint) Controller according to Art. 4 No. 7 GDPR in connection with Art. 26 Par. 1 S. 1 GDPR is TeamSpeak.

2.2 The websites operated by TeamSpeak USA contain links that take you to third-party websites. TeamSpeak USA expressly points out that in this case you must inform yourself about the collection, storage and processing of personal data by the third-party provider on the linked website, as TeamSpeak USA has no influence on this.

[]()[]()3. Information

3.1 You have the right to request detailed information from TeamSpeak USA at any time about the personal data stored and processed, its origin, the purpose of storage and processing and the recipients or categories of recipients to whom this data is disclosed.

3.2 Please send the request for information by e-mail to privacy@teamspeak.com or by e-mail, telephone, mail or fax to the contact details given in the imprint on the TeamSpeak USA website.

[]()[]()4. Revocation

4.1 You can revoke your consent to the storage, collection and processing of your personal data at any time.

4.2 Please send your revocation by e-mail to privacy@teamspeak.com or by e-mail, telephone, mail or fax on the web pages operated by TeamSpeak USA.

[]()[]()5. Use of cookies

5.1 When you use TeamSpeak USA's websites, cookies are stored on your computer, even if they are used for information purposes only on the websites operated by TeamSpeak USA.

5.2 Cookies are small text files that are stored on your hard disk, which is assigned to the browser you use, and through which certain information is transmitted to the site that sets the cookie. Cookies cannot run programs and above all cannot transmit viruses to your computer. Cookies are used in particular to make the websites operated by TeamSpeak USA more user-friendly.

5.3 If you have an account for the websites operated by TeamSpeak USA, cookies are used in particular to identify you for subsequent visits to the websites operated by TeamSpeak USA. This prevents you from having to log in again for each visit.

5.4 The websites operated by TeamSpeak USA use the following types of cookies:

  • Transient cookies, i.e. with temporary use
  • Persistent cookies, i.e. with temporary use
  • Third party cookies, i.e. cookies from third parties

5.5 Transient cookies are deleted as soon as you close your browser. These include in particular the so-called session cookies. Session cookies store a session ID with which your browser's requests can be assigned to the session so that your computer can be recognized by the system when you return to the website operated by TeamSpeak USA. As soon as you log out or close your browser, all session cookies are automatically deleted.

5.6 Persistent cookies are only deleted after a period of time that depends on the respective cookie and extends beyond the session, but no later than two months after the cookie has been set. You can delete these cookies automatically at any time in the security settings of your browser.

5.7 In your browser settings you can individually adjust the use of cookies and also completely prevent them. In particular, you can also completely prevent the use of third party cookies. In this case, however, you may not be able to use all features of the websites operated by TeamSpeak USA.

5.8 The information stored via cookies is stored separately from your other personal data and is not linked to it.

5.9 TeamSpeak USA points out that third party providers who collect data through the use of cookies also use data about the use of the websites operated by TeamSpeak USA for user-generated advertising on other websites. TeamSpeak USA has no influence on this data collection.

[]()[]()6. Informational use of the websites operated by TeamSpeak USA

6.1 For informational purposes only, TeamSpeak USA collects only the data transmitted by your browser:

  • Your IP address
  • the date, time and duration of your visit to the Web site operated by TeamSpeak USA
  • Your user behaviour, i.e. your visit to the website operated by TeamSpeak USA, sub-pages of the websites operated by TeamSpeak USA as well as the order of your visits, clicks made and the time spent on individual pages and sub-pages
  • Time zone difference to Greenwich Mean Time
  • The access status / http status code
  • Concretely transferred data volumes
  • Operating system and its interface
  • Browser, language and version of the browser software
  • The website from which the request comes

When using a mobile device, the following data is also stored:

  • Type of mobile device and its settings
  • Your location from which you access the website operated by TeamSpeak USA

6.2 The informational use of the websites operated by TeamSpeak USA only is deemed to exist if you do not sign up for a customer account, forum account or developer account, if not downloaded the software solutions or the TeamSpeak Software Client, if not uploaded or downloaded any Add Ons, if not made request via the TeamSpeak USA Websites or otherwise submit any personal information to TeamSpeak USA.

[]()[]()7. Data collection when purchasing licenses for the software solutions via Teamspeak.com

7.1 If you wish to purchase software solution licenses or other TeamSpeak USA services through the websites operated bay TeamSpeak USA, you must create a customer account. An order without an existing or newly created customer account is not possible.

7.2 When registering for a user account, the data entered by you during the registration process will be stored – subject to deletion of your user account by TeamSpeak USA at any time upon your request.

7.3 The data transmitted by you will be used in particular for the performance of both parties' contracts. For this purpose, your data may also be passed on to the partners required to fulfil the contract. This is in particular the payment service provider PayPal Inc, 2211 North First Street, 95131 San José, California, USA (hereinafter referred to as “PayPal”). Further information on the transfer of your personal data to third parties can be found in section 15 of this data protection declaration.

7.4 TeamSpeak USA also uses your personal data for marketing and advertising purposes for TeamSpeak's services. However, without your separate consent, only information about TeamSpeak services will be sent to you for this purpose that is similar to the services you use.

7.5 You may at any time have your account deleted by TeamSpeak USA by sending a request to privacy@teamspeak.com or by requesting TeamSpeak USA to delete the data described in the imprint of the website operated by TeamSpeak USA. If you request us to delete your user account, your data will be deleted immediately as soon as it is no longer required for the performance of both parties' contracts and TeamSpeak USA is not legally obliged to store it.

7.6 In order to prevent unauthorized access to your personal data, especially financial data, the order process is encrypted using SSL technology.

[]()[]()8. Data collection when downloading the TS3 Client

8.1 In the case of downloading a version of the TS 3 Client for PC, Sections 5 and 6 as well as 7.2 to 7.6 of this data protection declaration shall apply accordingly. TeamSpeak USA does not collect, store or process any additional personal information about you during download.

8.2 If you download a version of the TS3 Client for mobile devices, you will be redirected to the “Apple AppStore” (in the case of the iOS version) or “Android Market” (in the case of the Android version) websites of a third party provider.

8.2.1 For the collection, storage and processing of personal data by TeamSpeak USA, Sections 5 and 6 as well as 7.2 to 7.6 of this Privacy Policy shall apply accordingly. TeamSpeak USA does not collect, store or use any additional personal data during the download process.

8.2.2 The third party provider collects, stores and uses personal data from you. Please check the third-party website for information about the collection, storage and use of personal data by the third party, as TeamSpeak USA has no influence over this.

[]()[]()9. Data collection, storage and processing when using the TS3 Client (PC)

9.1 When using the TS 3 Client for the PC, TeamSpeak USA collects, stores and processes the following personal data from you:

  • IP address
  • Information about the operating system used (32 bit or 64 bit)
  • User behavior (especially activated buttons and menu items)
  • Crash report, if you send one to TeamSpeak USA (lines of code, annoying incident, essential data of the hardware used)

9.2 TeamSpeak USA uses this data exclusively for quality control and further development of the software solutions and the TS3 Client. The data described in section 9.1 of this data protection declaration will not be linked or otherwise associated with other data stored about you. The data will be made anonymous for further processing immediately after collection.

9.3 If you do not agree to the collection, storage and processing of the data described in Section 9.1 of this data protection declaration, you can exclude this in the field labeled”Anonymous Statistics”. To access this field, follow the menu items “Settings”, “Options” and then “Applications”.

9.4 You can object to the collection, storage and processing of the data described under 9.1 at any time. Please send your objection by e-mail to privacy@teamspeak.com or object by e-mail, telephone, mail or fax using the information in the imprint of the Web site operated by TeamSpeak USA. All data that can be traced back to you personally will be deleted immediately in the event of an objection.

9.5 The sending of a crash report in the event of a malfunction is voluntary and requires your separate consent for data collection, storage and processing, which will be requested separately from you before sending the crash report. In the event that a crash report is sent, Sections 9.2 and 9.4 of this data protection declaration shall apply accordingly.

[]()[]()10. Server rent

10.1 TeamSpeak USA will only arrange the rental of server space from third party providers.

10.2 Sections 5 and 6 and 7.2 to 7.6 of this data protection declaration apply accordingly. TeamSpeak USA does not collect, store or process any additional personal data about you when you rent the server.

10.3 TeamSpeak has no influence on the collection, storage and processing of personal data by the third party provider. Therefore, please inform yourself about the collection, storage and processing of personal data by the third party provider.

[]()[]()11. Use of the forum

11.1 The TeamSpeak Forum can be read without registration. In this case it is a purely informational use of the websites operated by TeamSpeak USA (cf. section 6 of this data protection declaration).

11.2 In order to actively participate in the forum, you must register and create a forum account. When registering, please provide your user name, password, date of birth and e-mail address. There is no requirement for a clear name, use under a pseudonymous user name is possible.

11.3 TeamSpeak USA uses the so-called double opt-in procedure for registration, i.e. your registration is not complete until you have previously confirmed your registration by clicking on the link contained in an e-mail confirmation sent to you for this purpose. If you do not receive a timely confirmation, your registration will be automatically deleted from the database.

11.4 The information you provide during registration will be stored by TeamSpeak USA and linked to the content you publish, which will also be stored by TeamSpeak USA. This data is used exclusively to operate the forum and to process the contract concluded with you regarding the use of the forum.

11.5 You may at any time request TeamSpeak USA to delete your forum account by sending an e-mail to privacy@teamspeak.com or by deleting the data provided in Teamsspeak.com's imprint. In this case, the personal data stored for your forum account will be deleted immediately as soon as it is no longer required for processing the contractual relationship regarding the use of the forum and TeamSpeak USA is also not legally obliged to keep it. Posts published by you will be displayed anonymously under the label “Guest” after successful deletion of your forum account.

[]()[]()12. Uploading and downloading Add Ons

12.1 The upload of Add Ons requires registration for a customer account as developer (hereinafter referred to as “Developer Account”).

12.1.1 During the registration process, the e-mail address, name and telephone number must be provided and sent to TeamSpeak USA.

12.1.2 The data provided by you during the registration process will be stored – subject to immediate deletion by TeamSpeak USA upon your request for deletion, which may be made at any time.

12.1.3 The data provided during the registration process will be used for the mutual performance of the contract and the enforcement of any existing claims against you (in particular if the Add Ons uploaded by you violate applicable law or the General Terms and Conditions).

12.1.4 TeamSpeak USA also uses the information provided during the registration process to market and promote TeamSpeak's services. However, for this purpose, only information about TeamSpeak USA services similar to the services you use will be sent to you without your explicit consent.

12.1.5 You may at any time have your Developer Account deleted by sending a request to that effect to privacy@teamspeak.com or the information described in the imprint of the Web pages operated by TeamSpeak USA. In the event that your Developer Account is deleted upon your request, your data will be deleted immediately as soon as it is no longer required for the performance of both parties' contracts and TeamSpeak USA is not legally obliged to store it.

12.2 Registration is not required for the purpose of downloading Add Ons. Sections 5 and 6 of this data protection declaration apply accordingly.

[]()[]()13. Use of the online inquiry; order by e-mail, fax or telephone

13.1 You may also contact TeamSpeak USA online through your account, by phone or email.

13.2 The data sent or mentioned by you in the context of this will be used to answer your enquiry and to contact you by telephone or e-mail and, if necessary, for the fulfilment of both parties' contracts. If your data is also used for the purpose of mutual contract fulfilment, sections 5 and 6 of this data protection declaration apply accordingly.

[]()[]()14. Social networks and third-party services

14.1 TeamSpeak USA uses social media plug-ins from the social networks Facebook, Google+, Twitter, Twitch, Instagram and YouTube, which are operated by TeamSpeak USA.

14.2 Without you clicking on the button of a plug-in, no personal data will be transmitted to the providers of these plug-ins, regardless of whether you place an order.

14.3 If you press the button of a plug-in, personal data is automatically transmitted to the provider of the plug-in and can be stored and used by him. Please note that this can be done abroad, i.e. especially in the United States of America.

14.4 TeamSpeak has no complete knowledge of and cannot influence the type and scope of data collection, its use and processing.

14.5 If you activate a plug-in, the plug-in provider will be informed that you have activated it on the website operated by TeamSpeak USA or on the corresponding subpage of the respective website operated by TeamSpeak USA. In addition, the information referred to in Section 6 of this Privacy Policy will be transmitted to the plug-in provider. According to the plug-in provider's own information, in the case of Facebook in Germany only an anonymized IP address is collected and transmitted.

14.5.1 The data collection and transmission described in Section 14.5 of this Privacy Policy is independent of whether you have a user account with the respective plug-in provider or not. If you have a user account with the respective plug-in provider and you are logged in to this user account when you click on the respective plug-in, the data transferred to the respective plug-in provider is directly assigned to your user account. If you confirm the activated plug-in and, for example, link to the page, the plug-in provider will also save this information in your user account and can also inform your contacts publicly. To prevent them from being assigned to your user account with the plug-in provider, you should log out of your user account with that plug-in provider before clicking on the plug-in on the TeamSpeak USA web pages.

14.5.2 The respective plug-in provider stores the data transmitted to it, irrespective of whether you are also logged into your user account with the respective plug-in provider, usually as user profiles, which are used for the following purposes, for example:

  • Demand-oriented advertising
  • market research
  • Demand-oriented optimization of the plug-in provider's Internet pages
  • Inform other members of the social network about your activities on the websites operated by TeamSpeak USA

14.6 You are entitled to object to the creation of user profiles with the data collected about you. To do this, contact the relevant plug-in provider. TeamSpeak has no influence and is not responsible for the observance of your objection.

14.7 Further information on this and your rights in this regard can be found in the data protection declarations of the plug-in providers as the responsible bodies, which you can call up as follows:

14.7.1 Facebook Inc, 1601 S California Ave, Palo Alto, California 94304 USA – https://www.facebook.com/policy.php

14.7.2 Google+: Google Inc., 1600 Amphitheater Parkway, Mountain View, California 94103 USA – https://www.google.com/policies/privacy/partners/?hl=de

14.7.3 Twitter: Twitter, Inc. 1355 Market St., Suite 900, San Francisco, California 94103 USA – https://twitter.com/privacy?lang=en

14.7.4 YouTube: YouTube, LLC (Google Inc.), 901 Cherry Ave., San Bruno, CA 94066 USA – https://www.google.de/intl/de/policies/privacy/

14.7.5 Twitch: Twitch Interactive, Inc., 350 Bush Street, 2 nd Floor, San Francisco, CA 94104 USA

14.7.6 Instagram: Instagram LLC, 1601 Willow Road, Menlo Park, CA 94025 USA

  • https:// help.instagram.com/155833707900388

[]() 

[]()15. Passing on data to third parties

15.1 TeamSpeak may pass on your personal data to third parties if contractually agreed services and conditions which are offered together with the third party provider or contain its services. In this case TeamSpeak will inform you about the transfer of the data to the third party during the order process.

15.2 TeamSpeak also uses external service providers for data processing.

15.2.1 These external service providers are carefully selected and commissioned in writing by TeamSpeak. The external service providers involved in data processing are bound by TeamSpeak's instructions and are regularly checked for compliance with data protection and data security.

15.2.2 The external service providers are not entitled to pass on the data to third parties.

15.3 TeamSpeak will only process your personal data if permitted by law. In most cases we will process your personal data:

  • With your consent, and please note that you have the right to withdraw your consent at any time by contacting us.
  • Where TeamSpeak has to fulfill a contract that we enter into or have already entered into with you.
  • Where it is necessary that the legitimate interests of TeamSpeak (or a third party) and your interests and fundamental rights do not override those interests.
  • Where TeamSpeak must meet a legal or regulatory obligation.

The table below shows how TeamSpeak processes your personal information. Please contact TeamSpeak USA for more information on specific processing requirements.

Below is a breakdown by activity of how TeamSpeak processes your data:

activity

To process or deliver a product or service you have ordered from TeamSpeak USA, including:

  • Online orders or orders on one of our Internet pages
  • If we refund a payment
  • To manage payment and fees
  • To collect money owed to us
  • Any other contractual agreement we agree to enter into with you.

Personal Information

  • identity data
  • contact details
  • Financial data
  • transaction data

Basis for processing

  • Performance of a contract with you
  • Necessary for the legitimate interests of TeamSpeak USA to raise funds owed to TeamSpeak USA.

activity

To process your registration with TeamSpeak USA including:

  • receive news, offers, promotions and updates
  • to receive a voucher
  • to use our apps completely including myTeamSpeak
  • if you register elsewhere as one of our customers.

Personal Information

  • identity data
  • contact details
  • profile data

Basis for processing

  • Fulfilment of a contract with you

activity

To customize direct marketing to you and to send you direct marketing communications via:

  • E-mail
  • Text-message
  • push notifications

Personal Information

  • identity data
  • contact details
  • Technical Specifications
  • transaction data
  • consumption data
  • profile data
  • Marketing and Communication Data

Basis for processing

  • In order to tailor direct marketing, necessary for the legitimate interests of TeamSpeak USA, which are to develop its business and inform its marketing strategy
  • With respect to sending out direct marketing where you are a customer and where you have not previously chosen not to receive such direct marketing as is necessary for TeamSpeak USA's legitimate interests, which are to offer you relevant products and services in relation to what we have previously provided to you.
  • To send direct marketing where you are not a TeamSpeak USA customer, where your consent is given when you sign up for our mobile app, post your details on our website or otherwise and give your consent.

activity

Give you the opportunity to participate in raffles, contests or surveys.

Personal Information

  • identity data
  • contact details
  • consumption data
  • profile data
  • Marketing and communication data

Basis for processing

  • Fulfilment of a contract with you
  • Necessary for the legitimate interests of TeamSpeak, which are to investigate how customers use, develop and expand our products and services.

activity

Understanding TeamSpeak's clients, bringing together general information from different sources to create a profile of them; this may include:

  • understand your habits, where you are from time to time, your personal circumstances and those of your family or household, and the things you may like and care about
  • the way you interact with us, such as subscribing to news, offers, promotions and updates, completing surveys, participating in contests, browsing mobile apps, web sites, evaluating interaction with our social media accounts and our products and services in public forums.
  • generate aggregated data

Personal Information

  • identity data
  • contact details
  • Technical Specifications
  • transaction data
  • consumption data
  • profile data
  • Marketing and Communication Data

Basis for processing

  • Necessary for the legitimate interests of TeamSpeak, which are to develop our business, products, services, content and advertising campaigns to make them relevant to you and to track the effectiveness of our advertising campaigns.

activity

Manage TeamSpeak's relationship with you, which includes the following:

  • notify you of changes to our privacy policy
  • Notify you of operational changes to TeamSpeak products, services, websites and mobile apps, for example if TeamSpeak would withdraw one of its apps.
  • Get feedback from you from time to time about TeamSpeak brands, websites, mobile apps and other services and activities.
  • to answer your questions, suggestions, problems or complaints, to respond to them and to deal with them and to prepare reports and analyses in this regard.
  • respond to any social media reviews, posts or other public comments you make about TeamSpeak, its brands, websites, mobile apps, services or other activities

Personal Information

  • identity data
  • contact details
  • profile data
  • Marketing and Communication Data
  • Sensitive data (only, as necessary, for dealing with feedback and complaints on specific topics)
  • Data from children (only, as necessary, for dealing with feedback and complaints on specific topics)

Basis for processing

  • Fulfilment of a contract with you
  • Necessary to meet a legal obligation
  • Necessary for the legitimate interests of TeamSpeak (to keep files up to date and to investigate how customers use products/services)

activity

Manage and protect TeamSpeak's business and website and ensure safe and secure use of products and services, including:

  • the process of anonymizing your data so that we can no longer identify you and no longer need your data in an identifiable form
  • Enable secure access to TeamSpeak USA-powered websites, mobile apps and wireless networks
  • optimizing the user's security measures and services, such as identifying your user names and passwords and resetting functions
  • to monitor security measures around the websites, mobile apps and wireless networks operated by TeamSpeak USA to verify that they are not being abused or threatened.
  • protect you and our business against potential criminal conduct such as fraud
  • problem management, data analysis, testing, system maintenance, support, transmission and hosting of data

Personal Information

  • identity data
  • contact details
  • Technical Specifications
  • consumption data
  • profile data
  • Marketing and Communication Data

Basis for processing

  • Fulfilment of a contract with you
  • Necessary for the legitimate interests of TeamSpeak, which are to run their business, ensure network security and prevent potentially criminal behavior.
  • Necessary to meet a legal obligation

activity

Providing information to legal entities and regulatory authorities where TeamSpeak is required to do so by law or regulation.

Personal Information

  • identity data
  • contact details
  • Technical Specifications
  • transaction data
  • consumption data
  • profile data
  • Marketing and communication data
  • Sensitive data
  • Data of children

Basis for processing

  • Necessary to meet a legal obligation.

15.4 How TeamSpeak shares your personal information

TeamSpeak cannot run its business or get many of the services and benefits you expect without involving other people and businesses. TeamSpeak shares your information only in accordance with the laws applicable to us and for the purposes stated herein.

From time to time, TeamSpeak processes personal information about you in an automated manner to evaluate certain personal aspects about you. This includes the ability to analyze your interests and make predictions about how you are likely to interact with TeamSpeak. This is commonly referred to as profiling, so TeamSpeak can offer you a more personalized customer experience. This is based on our impression of how you deal with TeamSpeak.

The personal data about you that we process for profiling purposes includes your identity data, your contact data and your profile data. We do not process any personal data about you for profiling purposes consisting of personal data of the special category. We process your personal data for profiling purposes for our legitimate interests, as set out below. If you would like to know more about what kind of profiling we do and what profiling means for you, please contact us and we will be happy to give you a detailed answer. You also have the right to object that we process your personal data for profiling and to learn more about your right of objection.

TeamSpeak shares your personal information:

  • All TeamSpeak companies, including new companies, brands or outlets that we may acquire in the future (acting as controllers or contract data processors) and that provide services related to information technology, human resources and systems management services and that you may have agreed to provide you with marketing communications.
  • Service providers (mainly editors, sometimes controllers) that help TeamSpeak provide you with our websites, mobile apps, wireless networks and related services; for example, information technology companies that design and host TeamSpeak USA websites, payment service providers that allow you to use credit or payment cards at TeamSpeak, and data background specialists.
  • Related third parties (acting as contract data processors and controllers) who provide TeamSpeak services such as market research, coupon provision and redemption, marketing background services and data analysis.
  • Reward companies (acting as controllers) you have joined to receive the rewards and benefits offered to you.
  • Any new business partners (who may act as controllers or contract processors) that TeamSpeak may have over time; for example, if TeamSpeak enters into a joint venture with another company, reorganizes, merges, or sell part of our business, the other party may receive some or all of your information.
  • Our professional consultants (acting as controllers or contract data processors); for example, our lawyers, insurance companies and insurance brokers when they need them to advise TeamSpeak or to assist TeamSpeak in taking out insurance.
  • The police, health and safety authorities, local authorities, the relevant tax authorities in your country, the courts and any other central or local government authorities (acting as controllers or contract data processors) where TeamSpeak must do so in order to comply with its legal requirements, or where TeamSpeak may solicit them and lawfully disclose them, for example for the prevention and detection of criminal offences or the reporting of serious health and safety incidents.
  • TeamSpeak may also share the information collected with other third parties where TeamSpeak is required to do so by law, for example to comply with a court order.

[]()[]()16. Web tracking

16.1 TeamSpeak USA uses Google Analytics on the websites operated by TeamSpeak USA. Google Analytics is a web analytics service provided by Google Inc, 1600 Amphitheater Parkway, Mountainview, California 94103 USA (hereinafter referred to as “Google”). Google Analytics uses cookies which are stored on your computer and enable an analysis of your user behaviour. The information generated by the cookies is also stored by Google abroad, in particular on a Google server in the United States of America.

16.2 The websites operated by TeamSpeak USA use Google Analytics with the extension “_anonymizeIP()“, i.e. the anonymisation function of Google Analytics. As a result, your IP address is usually shortened by Google in a country in the European Economic Area before being transmitted to the United States of America.

16.3 The IP address transmitted by your browser as part of the use of Google Analytics will not be merged with other data that Google collects about you.

16.4 You can exclude the storage of cookies used by Google Analytics by excluding the use of cookies in your browser settings. In this case, however, you will not be able to use other features of the websites operated by TeamSpeak USA.

16.5 You also have the option of excluding the collection and processing of your personal data by Google by installing the browser plug-in available under the following link: http://tools.google.com/dlpage/gaoptout?hl=en

16.6 The use of Google Analytics is in accordance with the conditions on which the German data protection authorities have agreed with Google.

16.7 An overview of the data protection provisions of Google Analytics can be found under this link:
https://support.google.com/analytics/answer/6004245?hl=en

[]()[]()17. Data security

17.1 TeamSpeak takes current technical measures to guarantee data security and thus in particular to protect your personal data from dangers during data transmission and the gaining of knowledge by third parties. TeamSpeak regularly adapts these measures to the current state of the art.

17.2 TeamSpeak USA provides you with information about data security within the company at any time. Please direct your request to privacy@teamspeak.com or the information provided in the imprint of TeamSpeak USA websites.[]()

[]()[]()18. Privacy Shield regulations

18.1 TeamSpeak USA is certified under the EU-U.S. Privacy Shield and fully complies with the principles of the Privacy Shield, including its ancillary principles, when transferring data from European Economic Area countries to the United States. To learn more about the Privacy Shield program, visit www.privacyshield.gov, and to verify our certification, visit [www.privacyshield.gov/list.] (http://www.privacyshield.gov/list)However, if there is a conflict between the Privacy Shield Principles and the Data Transfer Principles below, the Privacy Shield Principles will always prevail.

 

18.2 Types of personal data, purpose of collection and competent authority

TeamSpeak USA collects and uses information in various ways. TeamSpeak USA only collects the data transmitted by your browser for purely informational use of the website. For more detailed information, please refer to section 6 of this Privacy Policy. TeamSpeak USA also collects data when you purchase licenses for software solutions from TeamSpeak USA. Further information can be found in section 7 of this data protection declaration. When cookies are used, they are stored on your computer. You will find more details on this under section 5 of this data protection declaration. Data is also collected, stored and processed when the TS3 client is downloaded. The same applies when using the TS3 client (PC). For more information, please refer to section 9 of this Privacy Policy.

TeamSpeak USA will only use personal information in a manner consistent with the purposes for which it was collected or authorized by you.

TeamSpeak USA is subject to the US Department of Commerce International Trade Administration.

 

18.3 Data transmission to third parties

If we disclose personal information to third parties acting as agents of TeamSpeak USA, we will ensure that such third parties are also certified for the EU-U.S. Privacy Shield or have a resolution of appropriateness issued by the EU Commission, or that there are written agreements between us and the third party that at least meet Privacy Shield's privacy standards. To whom we disclose your personal information and for what purpose, please refer to the disclosures in this privacy statement regarding the specific use of TeamSpeak USA's information.

Under certain circumstances, TeamSpeak USA may be liable for the disclosure of personal data of individuals from the European Economic Area if the third party has processed personal data in a manner inconsistent with the EU-U.S. Privacy Shield, unless TeamSpeak USA proves that it is not responsible for the event giving rise to the damage.

We may need to disclose personal information in response to lawful requests from government authorities, for law enforcement or national security reasons, if necessary to comply with a court order, or if otherwise required by law.

 

18.4 Data security

TeamSpeak USA uses technical, electronic and administrative procedures to ensure the confidentiality of your personal information, including Secure Sockets Layer (“SSL”) for all financial transactions. We use SSL encryption to protect your personal information online. We also take several steps to protect your personal information at our facilities. Access to your personal data is restricted. Only employees who need access to your personal information in order to perform certain tasks will have access to your personal information. Finally, for the technical security of some of our computer hardware, we rely on the services of third parties. We believe that their security measures are appropriate. For example, when you visit teamspeak.com, you access a server behind closed doors and an electronic firewall. Although we take industry-standard precautions to protect your personal information, we cannot guarantee complete security. 100% complete security is currently available neither online nor offline. TeamSpeak USA takes current technical measures to ensure data security and in particular to protect your personal data from the dangers of data transmission and the knowledge gained by third parties. TeamSpeak USA also regularly adapts these measures to the state of the art. TeamSpeak USA keeps you informed about data security in your organization at all times. Please send your request to privacy@teamspeak.com or use the contact details given in the teamspeak.com imprint.

 

18.5 Choice, access and corrections

TeamSpeak USA provides individuals in the European Economic Area whose personal information has been submitted to us with the opportunity to choose whether the personal information you provide will be used for a purpose other than that for which it was originally collected. You may also opt out of the use of your personal information by contacting us at the contact details below. TeamSpeak USA will not use your personal information for any purpose other than that for which it was originally collected or subsequently authorized by you, unless we have received your express consent.

TeamSpeak USA also provides you with reasonable access to personal information obtained in accordance with the Privacy Shield Principles.

Upon request, we will also correct or update your personal information, stop sending emails to your email address, or deactivate your account to prevent future purchases through that account.

You can send these requests by e-mail to privacy@teamspeak.com, by fax + 1-619-312-4145 or by telephone at + 1-877-832-6773. Please do not send your credit card number or other sensitive information by e-mail.

 

18.6 Offline Collection, Use and Disclosure of Information

Information may also be collected offline, and attempts may be made to protect your personal information. For example, when you call, we only ask for the personal information we need to process the order or answer the question. When we need to store information, we enter it into our database using SSL encryption. Faxes are another example. If you fax us something, we respond to the fax and either store it in a locked room or we destroy the fax if the information does not need to be kept. It should be noted that we try to comply with the standards for data obtained online for data obtained offline.

 

18.7 Enforcement of Privacy Shield Principles

TeamSpeak USA implements compliance measures to ensure compliance with the Privacy Shields. Any employee found by TeamSpeak USA to be in violation of these guidelines will be subject to disciplinary action.

 

18.8 Settlement of disputes

In accordance with the EU-U.S. Privacy Shield, TeamSpeak USA is committed to resolving complaints about your privacy and our collection or use of your personal information. Persons from a European Economic Area country should first contact TeamSpeak USA at the above address with inquiries or complaints regarding Privacy Shield provisions. TeamSpeak USA will investigate and attempt to resolve your complaints based on the principles set forth in the Privacy Shield Policy. TeamSpeak USA is required to investigate the complaint within 45 days. TeamSpeak USA has also committed to submit unresolved privacy complaints under the Privacy Shield provisions to the independent enforcement mechanism, the BBB EU PRIVACY SHIELD, which is often operated by the Council's Better Business Bureau. If it does not acknowledge your complaint in a timely manner or your complaint is not satisfactorily addressed, please visit http://www.bbb.org/EU-privacy-shield/for-eu-consumers for more information and to file a complaint. Under certain limited circumstances, an individual may also be able to invoke binding arbitration under Annex I of the Privacy Shield Principles to resolve an otherwise unresolved complaint.

[]()19. Data Protection Officer

TeamSpeak has appointed an external data protection officer.

 

Stephan Hendel

Attorney-at-law

Bajuwarenstrasse 2e

93053 Regensburg

Germany

 

If you have any concerns or questions about the data TeamSpeak processes, you can also contact our data protection officer directly. Further contact details can be found at https://www.gabler-hendel.de .

 

[]()[]()General business Terms and Customer Information of TeamSpeak Systems, Inc.

[]()[]()I. General Terms and Conditions

[]()[]()1. Scope

1.1 These General Terms and Conditions (hereinafter referred to as “GTC”) apply to all contracts between TeamSpeak Systems Inc., PO Box 211180, Chula Vista, CA, 91921 USA (hereinafter referred to as TeamSpeak) and the Customer via the websites to be accessed by TeamSpeak under the domains www.teamspeak.com, www.teamspeakusa.com and www.myteamspeak.com (hereinafter referred to jointly as “Teamspeak.com” and the latter as “Myteamspeak.com” and all three jointly referred to as “TeamSpeak web pages”).

1.2 These GTC shall also apply to all future services or offers to the customer, even if they are not separately agreed again.

1.3 TeamSpeak does not accept any deviating, additional or contradictory terms and conditions of the customer, so that they are not included in the contract. This shall not apply if TeamSpeak has expressly and in writing agreed to the inclusion of the customer's terms and conditions in the respective individual case.

[]()[]()2. Entrepreneurial status

2.1 All paid offers of TeamSpeak are exclusively directed to entrepreneurs in the sense of § 14 BGB (German Civil Code) who order and use the services of TeamSpeak in the context of their independent, professional or commercial activity.

2.2 Prior to the conclusion of the contract TeamSpeak checks the entrepreneurial status of the customer. The customer must provide TeamSpeak with any requested documents such as a business registration.

2.3 An entrepreneur is any natural or legal person or a partnership with legal capacity who, when concluding a legal transaction, in this case the contract with TeamSpeak, acts in the exercise of its commercial or self-employed professional activity, § 14 BGB (German Civil Code).

2.4 A consumer is any natural person who enters into a legal transaction, in this case the conclusion of a contract with TeamSpeak, for purposes which can predominantly neither be attributed to his commercial nor his independent professional activity, § 13 BGB (German Civil Code).

2.5 Non-commercial grouping within the meaning of these GTC is any grouping of consumers or any legal entity whose business activities do not serve the purpose of making profits, in particular legal entities pursuing a non-profit corporate purpose.

[]()[]()3. Subject matter of the contract

3.1 TeamSpeak is the provider of the software solutions “TS3 Client” and “TeamSpeak 3 SDK” (hereinafter referred to as “Software Solutions”), which enable the customer to communicate by voice or text and to exchange files with third parties.

“TS3 Client” is the object code of the client of TeamSpeak Communication Software version 3, which is provided to you by TeamSpeak, including any software extensions, upgrades or updates you receive.

The “TeamSpeak 3 SDK” software solution is the object code of the TeamSpeak Software Development Kit software version 3 and the client and server provided to you by TeamSpeak, including software enhancements, upgrades or updates that you receive.

“Client” refers to the TeamSpeak software that connects to the TeamSpeak Server software via the Internet. “Server” means the TeamSpeak software (whether 32-bit or 64-bit) installed on a computer and acting as host.

3.1.1 The software solution “TS3 Client” enables the customer to communicate with third parties by sharing his TeamSpeak server address. The number of third parties to whom the communication channel can be made available depends on the scope of the customer's licence.

3.1.2 The software solution “TeamSpeak 3 SDK” is a solution for integrating the technical solution for voice transmission and other functions such as file transfer, chat function etc. into the customer's own software solutions.

3.2 The software solutions are offered under the following license models:

3.2.1 “Unlicensed”: Under the license model “Unlicensed”, the software solutions “TS3 Client” and its predecessor “TeamSpeak 2” can be used free of charge. The use of the software solution “Teamspeak 2 – Server” is limited to the use of a maximum of two virtual servers with up to 1000 slots, the use of the software solution “TeamSpeak 3 Server” to a virtual server with up to 32 slots. Use is unlimited in terms of time. There is no feedback from the virtual server to TeamSpeak. The “Unlicensed” licensing model is available exclusively to non-commercial groups and consumers.

3.2.2 “Non-Profit” (hereinafter referred to as “NPL”): The “TeamSpeak 3 Server” software solution can be used free of charge under the “NPL” license model. The use is limited to two virtual servers with up to 512 slots. The license period is 6 months. Sublicensing of slots and virtual servers to third parties is not permitted. The “NPL” licensing model is available exclusively to non-commercial groups and consumers.

3.2.3 “Annual Activation/Single Server” (hereinafter referred to as “AAL”): The “TeamSpeak 3 Server” software solution can be used for a fee under the “AAL” license model. Depending on the licensing chosen by the customer, it is used between a virtual server with up to 32 slots and up to 2 virtual servers with up to 1064 slots. The license period is one year. Sublicensing of slots and virtual servers to third parties is not permitted.

3.2.4 “Authorized TeamSpeak Hosting Provider” (hereinafter referred to as “ATHP”): Under the “ATHP” license model, the “TeamSpeak 3 Server” software solution can be used for free and virtual servers and slots can be sublicensed to third parties. The license period is one year.

3.2.5 Software Development Kit (hereinafter referred to as the “SDK”): Under the “SDK” license model, the “TeamSpeak 3 SDK” software solution can be used for a fee for integration into the user's own software solutions. The conditions of the license model “SDK” are individually adapted and agreed by TeamSpeak to the needs of the user.

3.3 TeamSpeak also provides server slots offered by third parties via Teamspeak.com.

3.4 Furthermore, the customer has the possibility to download the Teamspeak Software Client via Teamspeak.com or the referring websites. The client is offered for the operating systems Windows, Linux and MacOS. Furthermore, the customer has the option of downloading the client in a version for mobile devices for iOS or Android.

3.5 TeamSpeak operates a forum via myteamspeak.com, which enables the customer to publish contributions to TeamSpeak's services, in particular questions, suggestions and ratings on Teamspeak.com in the “Community” section.

3.6 In addition, the customer has the possibility on the Teamspeak web pages to upload own software programs which are compatible with the software solutions of TeamSpeak (hereinafter referred to as “Add Ons”) and to offer them to third parties for download and to download the Add Ons offered by third parties via myteamspeak.com.

3.7 However, the “TS3 Client” may only be used to connect to official “TeamSpeak 3 Servers” developed by TeamSpeak. Any other use is expressly prohibited. In case of violation TeamSpeak reserves the right to claim damages.

[]()[]()A. Terms and Conditions for the conclusion of the contract

[]()[]()4. Conclusion of the contract for the licensing of the software solutions

4.1 A contract with TeamSpeak for the licensing of the software solutions is concluded as described below:

4.1.1 “Unlicensed”: The contract for the free use of the license model “Unlicensed” is concluded by downloading the respective software solution by the customer and making the software solution available by TeamSpeak.

4.1.1.1 To do this, the Customer clicks on TeamSpeak.com on the button labeled “Licensing Overview” and then clicks on the button labeled “Download” under the description of the license model “Unlicensed”.

4.1.1.2 The Customer has the option of downloading the software solution and using it in accordance with these GTC without having to register.

4.1.1.3 By downloading the software solution, a binding contract comes into effect between TeamSpeak and the customer for the use of the software solution in the “Unlicensed” license model.

4.1.2 “NPL”: The contract for the free use of the “NPL” license model is concluded as follows:

4.1.2.1 On TeamSpeak.com, the Customer clicks the button labeled “Licensing Overview” and then the button labeled “Register” displayed under the description of the “NPL” license model.

4.1.2.2 The Customer shall press the “Continue to NPL Application.” button on the overview displayed and confirm that the requirements for non-commercial grouping or consumer property have been met by pressing the “Continue” button. He also confirms the license terms and these GTC by pressing the buttons labeled “I agree”.

4.1.2.3 By clicking on the “Submit” button, the Customer submits an offer to TeamSpeak to conclude the contract for the “NPL” license model. Before pressing the button labeled “Submit”, the customer has the option of deleting or correcting his entry or cancelling the process at any time, also by pressing the “Back” button of his browser.

4.1.2.4 The Customer will receive a confirmation e-mail from TeamSpeak by e-mail to the e-mail address provided during the registration process, confirming receipt of the Customer's offer by TeamSpeak. A contract is not concluded upon receipt of this confirmation e-mail by the customer.

4.1.2.5 TeamSpeak accepts the customer's offer by making the software solution available for download. This results in a binding contract between TeamSpeak and the customer for the use of the software solution in the “NPL” license model.

4.1.2.6 The Customer shall receive a confirmation e-mail from TeamSpeak by e-mail to the e-mail address provided during registration, summarizing the essential contents of the contract. With this confirmation e-mail the general terms and conditions will also be sent to the customer.

4.1.3”AAL”: The contract for the paid use of the “AAL” license model is concluded as follows:

4.1.3.1 The Customer registers for a Customer Account for TeamSpeak.com: The Customer clicks the button labeled “Sales” and then the button labeled “Continue to register for an account. He fills in the displayed registration form and sends it by pressing the button labeled “Register”.

4.1.3.2 The Customer shall receive an overview of the data entered by him and shall have the option, after pressing the “modify” button, to correct or delete the data or to cancel the registration process by closing the browser window or pressing the “Back” button of the browser.

4.1.3.3 By clicking the button labeled “Confirm”, the customer submits a binding offer to conclude a contract for the setup of his customer account.

4.1.3.4 TeamSpeak sends a confirmation e-mail with a confirmation link and password to the customer.

4.1.3.5 TeamSpeak displays the license models offered to the customer in the customer area of his customer account. With this advertisement TeamSpeak makes a binding offer to conclude a contract with the customer about the displayed license models.

4.1.3.6 The Customer selects the “AAL” license desired by him from his Customer Account and clicks the button labeled “Add”. By clicking the button labeled “Add”, the customer accepts TeamSpeak's offer to conclude the contract and a binding contract for the use of the software solution in the “AAL” license model is concluded.

4.1.3.7 The Customer shall receive a confirmation e-mail from TeamSpeak by e-mail to the e-mail address provided during registration, summarizing the essential contents of the contract.

4.1.4”ATHP”: The contract for the paid use of the license model “ATHP” is concluded as follows:

4.1.4.1 The Customer registers for a Customer Account for TeamSpeak.com. The steps of registration are governed by clauses 4.1.3.1 to 4.1.3.4 of these GTC.

4.1.4.2 The customer selects the “ATHP” license model in his customer account and clicks the button marked “Add”. An invoice for the registration fee of $50 USD will be sent to the customer. Once the customer has paid the registration fee, TeamSpeak will send an email to the customer with instructions to complete the application process (as described below).

4.1.4.3 The Customer shall send TeamSpeak the completed application form, the signed License Agreement, a copy of the identity card or passport of an authorized representative, as well as the business registration, the VAT ID or any other document identifying the Customer as an entrepreneur within the meaning of Section 2.3 of these GTC. The transmission to TeamSpeak takes place by e-mail to the e-mail address athps@teamspeak.com or by fax to the fax number +49-8825-920-27-97. With the transmission of the aforementioned documents, the customer submits a binding offer for the conclusion of the contract.

4.1.4.4 TeamSpeak sends the customer a confirmation e-mail to the e-mail address stored in the customer account confirming receipt of the customer's offer. A contract is not concluded upon receipt of this confirmation e-mail.

4.1.4.5 TeamSpeak accepts the customer's offer by making the software solution available for download in the customer area of the customer account. With the provision of the software solution a binding contract between the customer and TeamSpeak about the use of the software solution in the license model “ATHP” comes into being.

4.1.4.6 The Customer will receive a confirmation e-mail from TeamSpeak by e-mail to the e-mail address provided during registration, summarizing the essential contents of the contract.

4.1.5 “Software Development Kit” (hereinafter referred to as the “SDK”): The contract for the paid use of the “SDK” license model is concluded by concluding an individual contract with the customer.

4.1.5.1 The Customer shall contact TeamSpeak by e-mail at ts3sdk@teamspeak.com or by telephone at +49 8825 920200-0.

4.1.5.2 TeamSpeak sends the customer an offer for the services requested by the customer in text form to the e-mail address provided by the customer. With this e-mail TeamSpeak makes a binding offer to conclude a contract under the conditions specified in the e-mail.

4.1.5.3 By accepting the offer of TeamSpeak by the customer in text form, a binding contract for the use of the license model “SDK” is concluded.

[]()[]()5. Conclusion of a contract for the brokerage of server places

5.1 The customer is redirected via Teamspeak.com to the website of the third party provider.

5.2 In the event that a third party offers server space, a contract is concluded exclusively between the customer and the respective third party. It is strongly recommended that the customer obtain information from the third party about the conclusion of the contract and, if applicable, its general terms and conditions.

[]()[]()6. Conclusion of the client licensing agreement

6.1 A contract for the licensing of the client is concluded as follows:

6.1.1 The customer presses the button “Download” on TeamSpeak.com. The customer is directed to a subpage showing an overview of the versions of the client to be downloaded (Windows, Linux and MacOS as well as for mobile devices).

6.1.2 The Customer selects the version corresponding to his requirements and presses the button with the label “Download”, which is displayed next to the version of the Client selected by him. The customer has the possibility to cancel the download process at any time by closing his browser window or ending the process.

6.1.3 If Windows, Linux or MacOS versions are selected, the customer makes a binding offer to conclude the contract by clicking on the “Download” button. TeamSpeak accepts this offer by providing the client for download by teamspeak.com or the referring websites, so that a binding contract is concluded between TeamSpeak and the customer. 

6.1.4 If a version of the client for mobile devices is selected, the customer will be redirected to the websites of third parties “Apple AppStore” (iOS) or “Android Market” (Android) and can purchase them there under the terms of the respective third party provider. The customer is strongly advised to inform himself about the conclusion of the contract and the general terms and conditions of the third party provider.

[]()[]()7. Conclusion of the contract concerning the uploading and downloading of Add Ons

7.1 TeamSpeak only provides the platform for uploading and downloading Add Ons. The contract for the use of the respective add-on is concluded exclusively between the customer who uploads the add-on and the customer who downloads the add-on.

7.2 To upload Add Ons, the customer must register for a customer account as a developer (hereinafter referred to as “Developer Account”).

7.3 To do this, the customer clicks the button labeled “MyTeamSpeak” and the button labeled “Register” on the subpage that appears.

7.4 The customer completes the displayed registration form by entering his e-mail address and password and presses the button labeled “Register”.

7.5 TeamSpeak sends a confirmation e-mail with a confirmation link to the customer.

7.6 The customer activates the confirmation link contained in the e-mail and is led to his customer account under the menu item “Dashboard”.

7.7 The customer clicks the button marked “Become a developer” in his customer account. By entering the name and mobile phone number, the customer completes a registration form and clicks the button labeled “Send confirmation code”.

7.8 TeamSpeak sends a confirmation code with a limited validity period to the mobile phone number specified by the customer.

7.9 The customer enters the confirmation code in the appropriate form field and presses the button labeled “confirm”.

7.10 The customer does not have to register for a customer account to download Add Ons. Downloading is free of charge and without registration on the MyTeamSpeak subpage.

7.11 Only Add Ons in combination with the “TS 3 Client” may be used which can be downloaded from the myteamspeak.com website.

[]()[]()8. Conclusion of the contract for the use of the forum

8.1 The customer presses the button labeled “Forum” and then the button labeled “Register”.

8.2 The Customer completes the registration form displayed after pressing the “Register” button.

8.3 After filling in the registration form, the customer presses the button marked “Complete Registration”. They can correct their data at any time until the “Complete Registration” button is pressed, or cancel the registration by closing their browser window or pressing the “Back” button of their browser.

8.4 The customer receives an access confirmation from TeamSpeak, which contains a confirmation link. This confirmation of access does not constitute an offer to conclude a contract on the part of TeamSpeak, but merely serves to verify the customer's data.

8.5 The customer can click on the confirmation link and then log in to his customer account. By clicking on the confirmation link, the customer makes a binding offer for the free use of the forum.

8.6 With the provision of the customer account TeamSpeak accepts the offer of the customer, so that a binding contract is concluded.

[]()[]()B. Special provisions for the respective contracts for individual services

[]()[]()9. License fees for the use of the software solutions

9.1 License fees under the “ATHP” license model

9.1.1 A flat-rate basic fee and use-dependent ongoing license fees must be paid for the use of the software solution in the “ATHP” license model.

9.1.2 The basic fee is a flat rate of 50 dollars and is due once upon conclusion of the contract.

9.1.3 The amount of the current licence fees for the granting of licences under the “ATHP” licence model is determined on the basis of the actual use of the number of slots per calendar day. For this purpose, the number of slots used by the virtual server is transmitted daily to a server operated by TeamSpeak. The customer undertakes not to take any measures towards TeamSpeak which are suitable to prevent this transmission or to change the transmission result. The current license fees are due ten working days after receipt of the invoice by the customer.

9.1.4 A minimum license fee is agreed between the customer and TeamSpeak. For the first year of license use, this is the license fee for one use of 200 used slots and for each additional year of license use, the license fee for one use of 1,000 used slots. If the minimum license fee is not achieved, the customer must nevertheless pay license fees in the amount of the minimum license fee.

9.2 Unless otherwise agreed between the customer and TeamSpeak, the license fees stated in the service description for the respective license model shall be deemed agreed.

9.3 TeamSpeak is entitled to change the license fees within the scope of a further development of the software solutions or for reasons of adaptation to the market situation.

9.4 In the event of a price adjustment, a list with the changed prices will be sent to the customer in text form.

9.5 The Customer has the option of terminating the License Agreement without notice within a period of four weeks beginning with the receipt of the notice referred to in Section 9.4 of these GTC.

9.6 The customer has the possibility to object to the price adjustment within a period of four weeks starting with the receipt of the message specified in Section 9.4 of these GTC. In the event of an objection by the customer, TeamSpeak is entitled to terminate the contract within a period of four weeks starting with the receipt of the objection by TeamSpeak.

[]()[]()10. Pricing and terms of payment for the licensing of the software solutions

10.1 All prices or quotations quoted by TeamSpeak are always US dollars, even if an explicit currency quotation is missing, unless otherwise agreed between the parties.

10.2 All prices and/or price quotations are exclusive of the respectively applicable value added tax and any further public charges.

10.3 When ordering via Teamspeak.com, the customer only has access to the payment options shown under the menu item “Payment”, whereby TeamSpeak expressly reserves the right to refuse a payment method selected by the customer in the contract offer.

10.4 In case of telephone orders or orders placed by e-mail, fax or post, payment by bank transfer is agreed as advance payment unless otherwise agreed, whereby TeamSpeak's payment is due upon conclusion of the contract, i.e. the customer is obliged to pay the remuneration in advance.

10.5 In the event of an invoice payment agreement, payment shall be due within fourteen working days from the date of receipt of the invoice by the customer.

10.6 TeamSpeak is entitled to execute or provide outstanding services only against prepayment or security if after conclusion of the contract it becomes aware of circumstances which are suitable to significantly reduce the creditworthiness of the customer and which endanger the payment of the outstanding claims of TeamSpeak by the customer from the respective contractual relationship (including from other individual orders).

[]()[]()11. Termination of license agreements for the software solutions

11.1 The contracts for the licensing of the software solutions have the contract term specified in the service description (hereinafter referred to as “minimum contract term”), i.e.

11.1.1 The contract for the “Unlicensed” license model has no fixed term. The license model can be used by the customer at any time, as long as TeamSpeak offers this license model.

11.1.2 The contract for the “NPL” licensing model has a minimum term of six months.

11.1.3 The “AAL” licensing model contract has a minimum term of twelve months.

11.1.4 The “ATHP” licensing model contract has a minimum term of twelve months.

11.1.5 The contract for the “SDK” license model has a individually agreed minimum contract term.

11.2 The contract is automatically extended by the minimum contract term if neither party terminates the contract at the end of the minimum contract term. With the “NPL” license model, the contract is only automatically extended if the customer has used the software solution within a period of one month before termination of the minimum contract term; otherwise the contract automatically ends upon termination of the minimum contract term.

11.3 The license agreement can be terminated by the customer at any time at the end of the minimum contract term without observing a period of notice. TeamSpeak may terminate the license agreement at any time subject to a notice period equal to half of the minimum contract term to the end of the minimum contract term.

11.4 The right of both parties to extraordinary termination remains unaffected. TeamSpeak is entitled to an extraordinary right of termination, in particular under the conditions of Section 11.5 of these GTC.

11.5 TeamSpeak has the right to terminate the contract without notice,

11.5.1.1 if the Customer is in arrears with two successive payments due for licensing.

11.5.1.2 if the customer repeatedly falls below the minimum license fee for an “ATHP” license model contract.

11.5.1.3 if the Customer repeatedly violates his obligations under the License Agreement, including these GTC, despite a warning letter, and the violations are not insignificant.

11.5.1.4 if, despite repeated warnings from TeamSpeak, the Customer repeatedly breaches his essential obligations under this Agreement and is responsible for the breach.

11.5.1.5 if the Customer has chosen the “Unlicensed” or “NPL” license models without the property of consumer or non-commercial grouping being present or this property having subsequently ceased to exist. In this case, we reserve the right to claim damages.

11.6 Any termination must be made in text form.

[]() 

 

[]()12. Obligations of the customer when using the client

12.1 The customer himself is obliged to undertake data back-ups at regular intervals. TeamSpeak assumes no responsibility for any loss of data resulting from a breach of this obligation. This does not apply if TeamSpeak is responsible for the violation.

12.2 Furthermore, the customer is obliged to use programs in accordance with the current technical standard against viruses and other malware.

12.3 Updates for the standard software will be provided free of charge when and as soon as they become available. The customer is obliged in his own interest to install updates of the client immediately after their publication. Otherwise, the usability of the client may be restricted.

[]()[]()13. Termination of the client licensing agreements

13.1 The Client may terminate the Licensing Agreement at any time by removing the Client from all end devices of the Client.

13.2 The right to extraordinary termination without notice of both parties remains unaffected.

13.3 Each termination obliges the customer to immediately remove the client from all end devices.

[]()[]()14. Publication of contributions in the forum

14.1 The registered customer has the possibility to publish contributions in the “Community Forum” area on myteamspeak.com via the customer area of his customer account.

14.2 For the purpose of publishing a new article, the customer uploads the article by clicking on the “Post New Thread” button. When replying to another customer's post, the customer clicks the button labeled “Reply To Thread” to publish his reply post. The article will be sent to TeamSpeak and published by TeamSpeak on myteamspeak.com.

14.3 TeamSpeak does not control the contributions before publication. In case of a reference to the illegality of a contribution, TeamSpeak expressly reserves the right to delete individual contributions.

14.4 The Customer undertakes vis-à-vis TeamSpeak not to publish any contributions that violate the laws of the Federal Republic of Germany or the rights of third parties.

14.5 The customer releases TeamSpeak from all rights of third parties which they assert against TeamSpeak due to the publication of contributions on Teamspeak.com by the customer. Subject to the consent of the customer, TeamSpeak will not make any acknowledgments or other legal declarations substantiating the asserted claims of the third party.

14.6 The indemnity obligation described in Section 14.5 of these GTC shall not apply if the circumstances substantiating the third party's claims can be proven to be due to grossly negligent or intentional misconduct on the part of TeamSpeak.

14.7 TeamSpeak undertakes to inform the customer immediately of any legal action against TeamSpeak or the assertion of claims against TeamSpeak, and to give the customer the possibility to take over the legal defence, if this obligation of indemnification regulated in Section 14.5 of these GTC is affected by the customer.

[]()[]()15. Cancellation of the user account for the forum

15.1 The customer has the possibility to have his account deleted by TeamSpeak at any time. To do this, the customer sends the deletion request in text form to TeamSpeak. It is also possible to terminate the contract in text form with a moderator of the forum. TeamSpeak deletes the customer's forum account immediately after receipt of the cancellation. Contributions published by the client may be deleted or anonymized at TeamSpeak's discretion. The contract for the use of the customer account ends with the deletion.

15.2 TeamSpeak has the right to terminate the contract for the use of the customer account at any time by giving three months' notice to the end of the quarter of a calendar year.

15.3 The right to extraordinary termination of both parties remains unaffected. A right to extraordinary termination exists in particular if the customer repeatedly violates his obligations under Section 14.4 of these GTC despite a warning and the violation is not insignificant.

15.4 Any termination must be made in text form.

[]()[]()16. Release of Add Ons

16.1 If the customer is registered as a developer, he has the possibility to upload Add Ons and thus offer them to third parties for free download.

16.2 To upload Add Ons, the customer clicks the button labeled “Upload Add Ons” in the customer area of his customer account. The customer sends the Add Ons to be uploaded to TeamSpeak by pressing the button labeled “Add Addon”.

16.3 TeamSpeak releases the Add Ons on “MyTeamspeak”.

16.4 TeamSpeak does not check the uploaded Add Ons before they are published. In case of any indication of the illegality of an add-on, TeamSpeak expressly reserves the right to delete individual Add Ons.

16.5 The Customer agrees not to publish any Add Ons to TeamSpeak that violate the laws of the Federal Republic of Germany, the rights of TeamSpeak or the rights of third parties.

16.6 The customer releases TeamSpeak from all rights of third parties, which they assert against TeamSpeak due to the publication of Add Ons on myteamspeak.com by the customer. Subject to the consent of the customer, TeamSpeak will not make any acknowledgments or other legal declarations substantiating the asserted claims of the third party.

16.7 The indemnity obligation described in Section 16.6 of these GTC is not applicable if the circumstances substantiating the third party's claims can be proven to be based on grossly negligent or intentional misconduct on the part of TeamSpeak.

16.8 TeamSpeak undertakes to inform the Customer immediately of any legal action against TeamSpeak or the assertion of claims against TeamSpeak in the event that the Customer's obligation to indemnify as set forth in Section 16.6 of these GTC intervenes, and to give the Customer the opportunity to assume legal defence.

[]()[]()17. Termination of the customer account as a developer

17.1 The customer has the possibility to have his customer account as developer deleted by TeamSpeak at any time. To do this, the customer sends the deletion request in text form to TeamSpeak. TeamSpeak will delete the customer's Developer account immediately upon receipt of the cancellation. Add Ons published by the customer will also be deleted immediately. The contract for the use of the Developer account ends with the deletion.

17.2 TeamSpeak has the right to terminate the contract for the use of the Developer Account at any time by giving three months' notice to the end of the quarter of a calendar year.

17.3 The right to extraordinary termination of both parties remains unaffected. A right to extraordinary termination exists in particular if the customer repeatedly violates his obligations under Section 16.5 of these GTC despite a warning and the violation is not insignificant.

17.4 Any termination shall require a text form.

[]() 

[]()C. General terms and conditions

[]()[]()18. Warranty

18.1 The statutory warranty rights apply to consumers.

18.2 The following provisions shall apply to entrepreneurs:

18.2.1 The customer's warranty rights expire within one year. This does not apply to damages culpably caused by TeamSpeak from injury to life, body or health and grossly negligent or deliberately caused damages or fraudulent intent, as well as to recourse claims according to §§ 478, 479 BGB (German Civil Code).

18.2.2 Any warranty on the part of TeamSpeak is excluded if the defect is due to circumstances that TeamSpeak has caused at the express request of the customer.

18.2.3 The strict liability for damages for initial defects according to § 536a Abs. 1 BGB (German Civil Code) is excluded.

[]()[]()19. Liability

19.1 TeamSpeak is liable in all cases of contractual and non-contractual liability for intent and gross negligence in accordance with the statutory provisions.

19.2 In other cases TeamSpeak is only liable – as far as not differently regulated in clause 19.1 of these GTC – in case of violation of a contractual obligation, the fulfilment of which is essential for the proper execution of the contract and on whose compliance the customer may therefore regularly rely (so-called cardinal obligation). In all other cases, TeamSpeak's liability is excluded, subject to the provisions in Section 19.1 of these GTC.

19.3 As far as TeamSpeak is liable according to clause 19.1 of these GTC, this liability is limited to damages which TeamSpeak has foreseen as a possible consequence of a breach of contract at the time of conclusion of the contract or which should have been foreseen in case of application of customary care. Indirect damages and consequential damages resulting from defects in performance by TeamSpeak are only compensable if such damages are typically to be expected when the performance is used as intended.

19.4 The liability of TeamSpeak for damages from injury to life, body or health and according to the Product Liability Act remains unaffected by the above limitations and exclusions of liability.

[]()[]()20. Offsetting, rights of retention and assignment

20.1 The customer is only entitled to offset against legally established or undisputed claims against TeamSpeak. The same applies to the assertion of rights of retention.

20.2 The assignment of claims against TeamSpeak to third parties is only possible with the written consent of TeamSpeak. This applies in particular to a transfer of the license granted by TeamSpeak to third parties.

[]()[]()21. Text form

21.1 Amendments and modifications of the agreements made between TeamSpeak and the customer including these GTC must be made in writing to become effective.

21.2 With the exception of managing directors or authorized signatories, TeamSpeak employees are not entitled to make any verbal agreements to the contrary.

[]() 

 

[]()22. Applicable law and place of jurisdiction

22.1 German law shall apply. In the case of consumers, this choice of law applies only insofar as the protection granted by mandatory provisions of the law of the country of the consumer's habitual residence is not withdrawn (principle of favourability).

22.2 The place of performance for all services arising from business relations with TeamSpeak and the place of jurisdiction shall be the registered office of TeamSpeak, provided that the User is not a consumer but a merchant, a legal entity under public law or a special fund under public law. The same applies if the user does not have a general place of jurisdiction in Germany or the EU or if his place of residence or usual abode is not known at the time the action is filed. The authority to appeal to the court at another legal place of jurisdiction remains unaffected by this.

22.3 The provisions of the UN Sales Convention expressly do not apply.

[]()[]()II. customer information

[]()[]()1. Identity of the provider

TeamSpeak Systems, Inc.
PO Box 211180
Chula Vista, CA91921
USA
Phone: +1-877-832-6773
Fax: +1-619-312-4145
E-mail: info@teamspeak.com

 []()[]()2. Information regarding the conclusion of the contract

The technical steps for the conclusion of the contract, the conclusion of the contract itself and the possibilities for correction shall be in accordance with Section B. of the General Terms and Conditions (Part I).

[]()[]()3. Contract language, contract text storage

The contract language is english.

TeamSpeak does not save the complete contract text. Before sending the respective offer, the offer data can be printed or electronically saved using the browser's print function. With the acceptance of the offer by TeamSpeak, the contract data, the legally required information for distance contracts and the general terms and conditions are sent to the user again by e-mail.

[]()[]()4. Essential characteristics of the goods and services

The essential characteristics of the goods and services can be found in the service description and the supplementary information on Teamspeak.com.

[]()[]()5. Prices and payment methods

The prices and payment modalities result from the information provided at the time of conclusion of the contract as well as from the provisions in Section B. of the General Terms and Conditions (Part I).

 

[]()[]()6. Statutory liability for defects

The statutory rights to liability for defects shall exist towards consumers.

[]()[]()7. Term of contract, termination

Information on the term of the contract and the conditions of termination can be found in the respective service description and in Section B. of the General Terms and Conditions.

—>

 

C-130H/J/J-30 Quick Reference

 

 

 

[

image

—>

C130 Takeoff and Landing Tutorial

This tutorial will show you how to properly takeoff and land in the C130.Infi…

]()

 

 

Pre-Flight

 

 

 

•

Standard Operational Weight :

120,000 lbs

—> 120,000 lbs

 

 

 

Takeoff

 

 

 

•

Flaps For Takeoff:

50%

—> 50%

 

 

 

•

Rotate Speed:

110 KIAS

—> 110 KIAS

 

 

 

•

Climb Speed To Cruise:

150 KIAS

—> 150 KIAS

 

 

 

Climb/Cruise

 

 

 

•

Climb Rate:

2000 FPM

—> 2000 FPM

 

 

 

•

Cruise Speed:

250-300 KIAS

—> 250-300 KIAS

 

 

 

Descent

 

 

 

•

Descent Rate:

1500 FPM

—> 1500 FPM

 

 

 

•

Localizer Intercept:

180 KIAS

—> 180 KIAS

/ Flaps

50%

—> 50%

 

 

 

•

Final Approach:

130 KIAS

—> 130 KIAS

/ Flaps

100%

—> 100%

 

 

 

•

Landing Speed:

110 KIAS

—> 110 KIAS

 

 

 

(General Information For C-130H/J/J-30)

 

 

 

 

𝗗𝗮𝘃𝗶𝗱 𝗕𝗹𝘂𝗲

2023

2023-02-12: Sunday Readings: some historical context
2023-02-10: Last Week in the Fediverse, ep 5: 🧙
2023-02-03: Last Week in the Fediverse, ep 4: ⚡
2023-02-01: Small tech
2023-01-29: Sunday readings: reflections on the web
2023-01-27: Last week in the fediverse, ep 3: 🍎
2023-01-25: Experiment over; FT Alphaville shuts down Mastodon instance
2023-01-23: The Verge as a #Mastodon instance
2023-01-22: Groups in the #fediverse
2023-01-20: Last week in the #fediverse, ep 2
2023-01-18: Tech for the #fediverse, news and grab bag of tools
2023-01-16: An assortment of thoughts by Medium CEO Tony Stubblebine on #Mastodon moderation and policy
2023-01-15: Community discussion around search continues; Searchtodon shuts down
2023-01-15: Sunday readings: analysis of the #fediverse,
2023-01-14: Last week in the #Fediverse, first edition
2023-01-14: Pinafore, a web client for #Mastodon, is retiring
2023-01-13: Cloudfare is building Wildebeast, a hosted #fediverse server that is compatible with #Mastodon
2023-01-12: Searchtodon, a private timeline search for #mastodon released
2023-01-12: Vast majority of large accounts on #Mastodon stay active, data analysis shows
2023-01-12: #Medium embraces #Mastodon, will create “sign-up with Medium” option for Mastodon
2023-01-12: Elk, a #Mastodon web client, releases in public alpha
2023-01-12: Medium creates own official #Mastodon instance
2023-01-11: Free Software Foundation Europe launches initiative to promote sovereign communication in the public sector
2023-01-10: Mastodon is hiring for two new positions
2023-01-10: Browser extension Mastodon Air available for testing
2023-01-10: Creater takes down Fediverse Almanac API after critique
2023-01-09: Fediverse Almanac, an API for the Fediverse, released
2023-01-07: The Guardian: "Elon Musk drove more than a million people to Mastodon – but many aren’t sticking around"
2023-01-07: Automattic CEO re-comits Tumblr to implement ActivityPub
2023-01-07: Patreon update by the Mastodon organisation
2023-01-05: Ex-twitter designer Paul Stamatiou discusses Mastodon and decentralized networks in high detail
2023-01-04: Techdirt: Journalists (And Others) Should Leave Twitter. Here’s How They Can Get Started
2023-01-03: Eugen Rochko says Mastodon is considering quote posting
2023-01-03: Mastodon has reached 9 million users
2023-01-01: Welcome to the Fediverse Report

2022

2022-12-31: Shuttlecraft, a federated tool for self-hosting a microblog, released
2022-12-31: Mastodon releases public development roadmap
2022-12-31: Pixelfed releases Android app APK
2022-12-30: Ars Technica: Mastodon—and the pros and cons of moving beyond Big Tech gatekeepers
2022-12-28: Mastodon rejects VC funding
2022-12-25: Soapbox releases version 3.0
2022-12-21: Statement by PeerTube about study on PeerTube use by right-wing extremists
2022-12-21: Reddit AMA with Eugen Rochko
2022-12-20: Statement by Mastodon on the suspention of links to Mastodon on Twitter
2022-12-13: PeerTube v5 : the result of 5 years’ handcrafting
2022-12-07: A blog by Open Collective on community financing for Mastodon
2022-12-07: A Creator of ActivityPub on What’s Next for the Fediverse
2022-11-28: The New Stack describes how developers are rethinking social networking on the Fediverse beyond Mastodon
2022-11-21: Indepth dive into the architecture of Mastodon
2022-11-21: Automattic (Tumblr, Wordpress) CEO Matt Mullenweg announces support for ActivityPub coming "ASAP"

DocumentSMTEIconTELinkTEGroupBackup

.fpl Route Extractor Shortcut

Updated 12272022-065214

Social

  • Telegram

Extract and copy waypoint identifiers as a space-delimited list.

This shortcut extracts exclusively the usable identifiers from .fpl (flight plan) files and copies them as a space-delimited list. I originally created it to quickly copy Infinite Flight flight plan information from the share sheet.

Example output:

KMIA KROCS RUSSS MRENO BNGOS COREA DOLIE SMELZ JAWJA GOOGY WASER ERASE CRAMM VANZE CHLMR HADAN MCGHE RW36R KMEM

Contact

The Holiest Noise

Updated 12012022-120514

If death is the ultimate silence, and cacophony is in ultimate opposition of silence, than to be alive is to be noisy, yes?

A predominant sentiment in literature throughout human history has been a desire to feel alive, and a great many spiritual belief systems fudamentally regard life (and/or everlasting life) to be most Holy. Therefore, if we want to be Holy; if we want to live forever, we must be as loud as possible.

Extratone's namesake is perhaps the clangorest musical genre that will ever exist. I'm not sure if that makes us divine, but at least we know we are alive.

Friends and colleagues, Let us be loud.

Itty

{
  "davodtime": "12012022-120327",
  "raw": "https://itty.bitty.site/The-Holy-Noise/d/Quote-from-the-end-of-a-long--dead-newsletter./f/https%3A%2F%2Fdavidblue.wtf%2Fassets%2Ffavicon.ico/#/?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",
  "short": "https://bit.ly/holyextratone",
  "title": "The Holy Noise"
}

Updated 11072022-144814

Social

Detailed/customizable Tweet data retrieval/archiving with Spring for Twitter's actions.

As configured at install, this shortcut saves all available data from Spring for Twitter's Get Tweet action in three separate locations:

Custom Dictionary Default Layout

  1. The formatted (HTML-ish) content of the Tweet + its author's @, time of publication, and public URL are appended to a file at the root of one's iCloud Drive folder called, simply, tweets.txt.
  2. A custom dictionary of all available parameters (formatted in the order you see in the screenshot embedded above) is stored in Data Jar by Tweet ID at a key path chosen at installation.
  3. Formatted text along with the plain JSON text of the dictionary is stored in a new note in Apple Notes, in a folder specified at install. (You can leave that selection blank to store new notes in your default Apple Notes folder.)

Spring Tweet Capture Shortcut Results

See example results in the form of this shared Apple Note and/or this GitHub Gist.

Ferrite User’s Guide

http://service.wooji-juice.com/ferrite/user-guide/ferrite-user-guide-2.4.2.html#chap_automation

Ferrite

Recording Studio

version 2.4.2

Welcome to Ferrite, a professional audio recording & editing tool designed for journalism, podcasting, audiobook production and other voice-oriented work.

Ferrite offers tools for two main tasks: recording audio, and creating edits or finished pieces. Ferrite makes it quick and easy to collect together interviews, narration, music and other audio, and then later put them together into a project or package.

  1. Recording

  2. The Library

  3. Audio Info and Preproduction

  4. Project Info

  5. Overview

  6. Tracks

  7. Basic Edits

  8. Advanced Edits

  9. Editing Menu

  10. Effects

  11. Automation

  12. MP3 Chapters

  13. Compression and Sharing

  14. Long Recordings

  15. Transferring Audio to a Computer

  16. Viewing History

  17. Archives

  18. Templates

  19. Presets

  20. Tagging

  21. Drag And Drop

  22. Accessibility: VoiceOver

  23. Shortcuts, Gestures and Keyboard Commands

  24. Settings

  25. Bluetooth

  26. Audio Unit Extensions

  27. What’s New in Ferrite 2

Recording

When you open up Ferrite, the top of the screen is taken up with the recording controls.

Note: Due to iOS privacy protections, you need to give Ferrite permission to access to your microphone before you can use the recording controls.

Once you’ve taken care of that, you’ll see:

  • A large microphone button, to start or stop recording
  • A description of the device that will be used for recording (e.g. iPad Microphone)
  • A display, wrapped around the microphone button, that shows the loudness of the sound currently being picked up by the microphone.

If you have headphones plugged in, you’ll also see a small

Headphones

button. Tap this to turn “monitoring” on or off. When monitoring is on, everything that’s picked up by the microphone will be sent to the headphones so you can listen to it.

Note: This is unavailable when using the device’s built-in speaker, because the sound would be picked up again by the mic, causing a feedback loop and a nasty squealing sound.

The recording panel is slightly different depending on the version of iOS you are using — if you are using iOS 13 or later, more features are available, along with a more modern design.

In iOS 13 or later:

If you’re using a single mono microphone, you will see a “rainbow” over the microphone button that represents the sound it is picking up. If you have a stereo source connected, or an interface that supports multiple channels, the display is broken down into sections, one for each channel. The free version is limited to 1 or 2 channels (mono/stereo), but the Pro version supports more — see the Pro recording features section for details.

Channel input displays are 0 dB peak meters, meaning that if the meter fills up, you’ve maxxed out the input, causing clipping. The entire section will light up red if this happens, and glow for a few seconds afterwards. You ideally want the loudest sounds to light up everything except the outer ring, to get the highest quality recording.

A common technique is to try and get typical voice levels to be in the bright green region (if you have “differentiate without colour” enabled in the iOS settings, this region is solid, while the ones around it are dotted) as this gives a nice, loud, clear recording, while still having a bit of “headroom” so that sounds that are a little louder don’t clip.

In iOS 12 or earlier:

If you’re using a single mono microphone, you will see rings around the microphone button to represent the sound it is picking up. If you have two microphones connected (or another stereo source) these will split into two “fans”, representing the left and right input levels.

These are 0 dB peak meters, meaning that if the meter fills up, you’ve maxxed out the input, causing clipping. The outer ring will light up red if this happens, and glow for a few seconds afterwards. You ideally want the loudest sounds to light up everything except the outer ring, to get the highest quality recording.

When you tap to start a recording, a timer will appear, showing how long you’ve been recording for. If you tap the recording button again, recording will stop. Ferrite will store your recording in the The Library , and reset, ready for the next recording.

Tip: You can change this behaviour in the Settings if you prefer, so tapping the recording button will pause recording, and another tap will resume it again, as many times as you like. In this mode, a “checkmark” (iOS 12) or “Save” (iOS 13) button appears whenever your recording is paused. Tap it when you want to finish and save your recording.

Note: Whichever recording mode you choose, your recording is always being saved continuously to your device’s permanent storage. So if, for example, your device runs out of batteries and shuts off during a recording, everything up to that point will still have been saved. When you recharge, restart the device, and open Ferrite back up again, it will find the recording and ask if you want to finish processing it.

When you finish a recording, it will appear at the top of the Library (by default, it’s sorted by time and date, with the most recent items at the top). You can give it a useful name by tapping the Info button.

During recordings, a “bookmark” button also appears. When you tap this, Ferrite makes a note of the time in the recording, and you can list and jump back to these bookmarks later, while listening to or editing the recording. You might use this to mark moments where you need to go back and make changes — perhaps to edit out a mistake or some background noise that interrupted the recording — or you might use it to remember where the highlights are.

A bookmark is also added automatically each time you pause and resume recording, so you can quickly find those points for editing.

Ferrite 2 Pro recording features

  • Additional recording features are only available to customers who have purchased the Ferrite 2 Pro upgrade and using iOS 13 or later

Ferrite can record up to 8 channels, if you are using the Pro version. Podcasts, radio, audiobooks etc are typically mono or stereo (1 or 2 channels) only, so the additional channels won’t be played back unless you select or split them in the Audio Info Channel Selection controls .

If you have an audio interface with lots of inputs, but you’ve only connected mics to some of them, you can switch off the channels you’re not using. This saves space in the recording file, but the feature isn’t enabled by default (to avoid accidentally switching off a channel you wanted to record). You can enable it in the Recording Settings .

Once enabled, double-tap on a channel to toggle it on or off. You can change this as much as you like before you start recording, or after you stop, but not during a recording.

Note: Some file formats can only store 1-2 channels. If you have more inputs connected than your chosen file format supports, the additional channels will be marked unavailable with a “warning triangle”. Tap the triangle for more info.

Depending on how many inputs your audio interface has, it might be tedious to turn them on or off one-by-one. If you hold down on a channel, a menu pops up where you can switch all the channels on/off. Ferrite can also auto-detect channels: it will switch them on/off depending on which ones have sound coming through them. This normally matches the channels that have microphones connected, but depending on your interface, you may need to ensure the input gain is all the way down for unused channels.

When using headphones to monitor multiple channels at once, Ferrite spreads them across the stereo field. If you’re making a stereo recording, this matches your recording, but if you’re recording two or more people with one mic each, it can sometimes be distracting. Ferrite 2 Pro users can adjust this, either reducing the stereo spread (making it sound more like the people are standing in front of you, and slightly to the sides, instead of talking directly into your left/right ears) or mixing them down to mono. The monitoring settings don’t affect the stereo mix of the recording itself, just what you hear while monitoring. You can change the stereo spread in the Settings , or by holding down the headphones button until the menu appears.

The Library

The Library is where all your recordings and projects are kept. You can also add other audio to your Library, by tapping the

Tools

button in the top-right of the screen. Pick “Import Audio” from the tools menu to browse your device‘s Music Library — or other sources — for audio files to add to your collection.

Everything in the Library is either an Audio file, a Project, a Template, or an Archive.

Audio file

A recording made in Ferrite, or recordings, music or other audio imported from elsewhere.

Project

A document you create by combining one or more Audio files, arranging them and applying changes to them to make a finished product or package (e.g. a radio programme, podcast, audiobook, or whatever else you have in mind).

Template

Allows you to quickly create new Projects that are already set up, ready to start work on a new episode of a show.

Archive

A way to “tidy up” after finishing a project, by moving the project and all its audio into a single file. They’re described in detail in the Archives chapter — you probably don’t need to worry about them for now.

Note: Projects do not contain any audio — that’s all still preserved in the original recordings, so you can change your mind, compare your edited versions to the originals, or even re-use the same audio in multiple projects without wasting space on your device. This means If you delete a recording used by a project, the recording will be removed from the project.

You can preview any item in your Library by tapping the

Play

button to its left. While previewing audio, a bar appears, with a marker showing your position within the file. Tap the bar or drag the marker to jump to a different time. While listening to the audio, you can tap the Play button again to pause the preview, or hold the Play button down to stop and close the preview. Or, it will close itself, if you preview a different item.

You can tap any item in your Library to show more commands for that item:

Edit

Opens the project editor to edit the item.

  • If the item is a project, it will be opened for editing.
  • If the item is a piece of audio, a new project will be created. The audio is added to it, then the new project is opened for editing. When you return to the Library you’ll see the new project has appeared at the top.

Info

Opens a panel of information about the item, some of which you can edit (for example, to rename the item). See Audio Info and Preproduction and Project Info .

Share

Allows you to export the item, sending it to a person (e.g. by email), or social network, or to another app or file storage service (e.g. iCloud or Dropbox). You can also duplicate projects from here, and other tasks.

Delete

Permanently removes the item from your device.

Warning: You cannot recover an item once you have deleted it! Projects are gone forever, and if the item was a piece of audio, any projects that made use of it will now simply have silence where that audio used to be.

Selecting More Than One Item At Once

You can select several projects or audio files to be deleted or shared in a single action. You can also select several audio files to be gathered together and edited in a single new project.

Tap the

Select

button in the top-left of the Library. You can now tap items in the Library to select or deselect them. You can then tap the

Edit

,

Share

or

Delete

buttons that appear in the toolbar, to apply the command to each selected item.

Note: When sharing, Ferrite will make all the files you select available to the sharing services, but many sharing services only support a single file at a time. The exact list of sharing services available depends on the other apps you have installed on your device. You may need to tap the

More…

button in the sharing panel to enable the sharing services you want.

Filtering the Library

Over time, the Library may fill up with lots of audio and projects. You can keep things manageable and find items quickly by filtering. There are three ways to filter: By type, by tag, or by typing some text into the search box. You can combine these, to quickly pick out exactly the items you want.

At the very top of the screen, you can tap the

Library

title to pop up options for filtering by type. This will hide some of the items in your list. The filtering options are:

Entire Library

This is the default, showing everything in the Library.

Original Audio Only

This shows audio that you’ve recorded or imported into Ferrite. It doesn’t show any projects.

Projects Only

This only shows projects you’ve created, hiding all audio.

Projects & Unused Audio

The power-user’s favourite. This shows all your projects, and all the other audio that hasn’t yet been used in a project. Audio disappears from this list as it gets used, “hiding inside” the projects that use it. You’ll still see the audio in your projects when you view a project’s info, or by changing to a different filter.

Archives Only

If you have Archived old projects, this will show only those Archives still on your device.

At the the top of the Library, above the recording controls, is the

Search

box. Often, it’s tucked up out of sight, but you can reveal it by pulling the Library downwards with your finger. Typing into the box filters the Library, showing only the items whose names contain the text you’ve typed.

If you’ve applied any tags to items in your Library, then a

Tag

button will show up at the far right of the Search box. Tap this to show (or hide) all the tags you’ve used. Tap tags to select/deselect them. If you have any tags selected, only items with those tags will be shown. More detail can be found in the Tagging chapter of this guide.

The Library is normally sorted by the date the items were last edited, latest first. This keeps the items you’ve used most recently at the top of the list for quick access. You can change the order, to sort by when the item was created, or alphabetically by name, or by duration, by tapping the Sort Button. The Sort Button is next to the Search box, and its icon changes to show the current sorting:

  • A calendar when sorting by date
  • A-to-Z when sorting by name
  • A clock when sorting by duration

Audio Info and Preproduction

For detailed info about an audio file, tap to select it, then tap the

Info

button. This will pop up a panel showing technical information about your audio, including the duration, time of recording, the amount of space the recording is using on your device, the format & quality it is stored in, and more.

It also will tell you how many projects (if any) use the item — tap the number to list those projects (you can then tap a project to return to the Library, with that project selected). If you delete the audio, those projects will be changed, as the audio will be removed from them.

Note: There may be a second section in this list. If so, it shows projects which don’t currently use this audio, but did in the past.

The audio was removed from these projects, so deleting the audio won’t affect them in their current form — but if you were to open any of those projects, then tap

Undo

far enough to try to restore the audio to it, it won’t work: the audio clips do reappear in the project timeline, but they are blank with a warning ⚠️ icon on them, and will be silent when you play the project.

You can rename a piece of audio by tapping its name in the Audio Info panel.

You can also “tag” audio from here — see the Tagging chapter for more information on this.

If you have added bookmarks to the recording, these will also be listed here. Tap a bookmark to select it and jump the preview to that moment in the recording. Tap the selected bookmark again to edit the text. To remove a bookmark you no longer need, swipe the bookmark to the left, then tap the delete button that appears.

You can add new bookmarks in this panel as well. Just tap the

Bookmark

button in the Audio Info title bar, and the current position in the preview will be bookmarked.

When browsing the Library, any audio with bookmarks will have a small bookmark icon next to it, by the duration/date information.

Preproduction

  • Preproduction is only available to customers who have purchased the Ferrite 2 Pro upgrade

Most kinds of editing are performed in the Project Editor and can be adjusted live. But there are also a few features that help you prepare an audio file for editing, before you begin. These features are filed under “Preproduction”.

Many audio files don’t need preproduction, so initially it will be switched off. If you tap on the Preproduction section of the Audio Info panel, you can set it up for that audio file.

Using Preproduction, you can apply:

Auto Levelling

Like the Final Mix feature, this will smooth out the volume levels of the audio. This can help when editing very quiet audio, as it improves the quality of the previews. It can also be useful if you simply want to smooth the levels of a single audio clip instead of an entire project, or want control over the Final Mix while still taking advantage of Auto Levelling.

Noise Reduction

If you have a recording with “hiss” or similar noise in it, this may be able to remove it. It will identify pieces of the audio that are supposed to be silent (but have noise in them), analyse them to develop a “fingerprint” of the noise, then use that fingerprint to identify and attempt to remove it from the entire audio clip. Noise Reduction cannot reduce all kinds of noise, but it can help with relatively consistent sources of noise.

Boost Quiet Audio

This is only available when Noise Reduction is enabled, as it changes the way Noise Reduction works. It adds an extra boost to the levels before Noise Reduction is applied. This is because without it, if you have audio that has noise you want to remove, but the audio you want to keep is also very quiet, Noise Reduction may have difficulty telling them apart.

When you change Preproduction settings, all projects that use the audio file will be affected by your changes. The original audio file is not modified though — Preproduction creates additional audio data as needed. If you turn Preproduction back off, your original audio will be used unchanged.

Preproduction requires additional space to store processed audio. When Preproduction is enabled for an audio file, the amount of space used is shown in the Preproduction section of the Audio Info panel.

Channel Selection

  • Channel Selection is only available to customers who have purchased the Ferrite 2 Pro upgrade

Ferrite edits projects in either mono (1 channel) or stereo (2 channels, left and right). If you make or import recordings with three or more channels, Channel Selection helps you deal with those recordings.

If you use an audio file that has three or more channels, Ferrite will use the first two channels as a stereo pair. In the Audio Info screen, next to the format, this will be shown by the message “Using Channels 1 and 2”. If you want to change this, tap on it to show the Channel Selection panel.

This lists all the channels, whether in use or not. Each has a Play/Pause/Stop button (the same as in the Audio Library) allowing you to listen to each channel and figure out which is which.

On the right-hand side it will show if the channel is being used as a single mono channel, or as the left or right channel of a stereo pair, or not used at all.

Tap on a channel to toggle it on or off. You must always have one channel selected. You can’t turn on more than two channels, but you can split them off into a separate clip in the Audio Library so you can edit them independently. You can do this by tapping “Split Unused” or by dragging-and-dropping channels from the Use Channels section to the Make New Files section.

Note: If you have Preproduction enabled when you split channels into new files, your Preproduction settings will be applied to them as they are split off.

Alternatively, you can split off the channels before applying Preproduction, allowing you to pick different Preproduction settings for each channel.

Project Info

Projects also have an

Info

screen. From here, you can see which audio recordings they use, the duration and so on. You can also set the information that will be included in the project if you export it to an audio file, such as the project’s name, the creator’s name, the genre to file it under, copyright info, cover artwork and notes/lyrics.

Just tap the entry and type in the appropriate info. Some items also have a button that will help fill in the info more quickly. For example, you can pick a name out of your Contacts list, import a photo from your Photo Library to use as cover art, fill in copyright info automatically, or pick a genre from a list.

If the project was created from a template , that template’s name will be shown, and you can tap on the button to navigate to it.

  • Templates, and customised project export filenames and file formats are only available to customers who have purchased the Ferrite 2 Pro upgrade

You can set an export name for the project. This is the filename that will be used when you send the project audio to another app. Although some apps will ignore it, many will use it as the name to save the audio with. If you don’t fill it in, it defaults to the same as the title. Note that the extension is always set automatically to match your chosen Sharing Format.

Typically, the Sharing Format is chosen in the settings where you can set it up once, and then it will be used for all projects. However, if a project has different requirements, you can override it here in the Project Info screen.

Just like with audio, you can tag your projects to quickly find them later (see the Tagging section).

To remove cover art, hold your finger down on the image until Ferrite asks you to confirm its deletion.

In the Pro version, the top-left corner of the Project Info panel has a

Tools

button. This provides quick access to some common Ferrite 2 Pro project tools. These tools are also available from the Share Sheet, and include features such as making Templates or Archives from the project.

Editing

Editing Overview

The usual way to create a project is to either:

  • Tap on a piece of audio in the Library, then tap

Edit

, or, * Tap

Select

in the Library, pick several pieces of audio, then tap

Edit

in the toolbar.

Either way, a new project will be created, and it will contain the audio you selected. You can add more later (see Editing Tracks below).

Note: To continue editing a project later, you can tap on it, then tap

Edit

, just like for audio.

If you tap on the original audio and tap its

Edit

button again, you will instead create a new, separate project based on the same original audio.

The main editing screen consists of:

  • The Time Bar along the top of the screen: This acts like a “ruler” that marks off minutes and seconds, instead of inches or centimetres. As well as helping you see where you are in the project, there’s also a triangular marker, the “Play Head”, which shows where playback will start from next. You can drag the Play Head to move it, or tap to jump it to a new position.
  • The tracks: below the Time Bar are the tracks. Each track is a container, into which you can place clips of audio. Each track can be playing one clip of audio at any given moment, and the sound of all the tracks is mixed together to make the Final Mix, the result of your project. How you organise your tracks is up to you, but you might choose to use one for background music, another for field-recorded interviews, and another for studio voice-over, for example. Clips of audio are placed on the tracks and can be moved around to position them earlier or later in the mix, trimmed shorter, and so on.
  • Below the tracks is the Final Mix bar, for settings that affect the whole project, after the tracks have been mixed together.
  • Below the Final Mix bar, an

+ Add button allows you to add new tracks. * The

Import

button is also there, and pops open your Library. Tapping a piece of audio will add it to the project. * At the bottom of the screen is the toolbar.

The toolbar contains the following controls:

Document Save

Closes your project and returns to the Library.

Although this is called “Save”, in Ferrite your project is always saved, automatically. For example, if you run out of battery while editing, everything you’ve done up to that point is still saved.

You can also hold it down for about a second to enter History

Undo

Redo

These let you change your mind about edits you’ve made. In Ferrite, as long as you haven’t deleted the recordings from your Library, you can always undo your edits – all the way back to the creation of the project if you wish! In fact, in Ferrite, Undo & Redo continue to work even if you’ve closed the project, quit the app, and switched your device off and back on again

00:00:00

The Time Display indicates the “current” time — that is, the time the Play Head is positioned at. Below it is a bar, like a progress bar, showing how far through the project the Play Head is, relative to the complete length of the project. You can drag left or right anywhere on the Time Display to rapidly move the Play Head through the project. Tap the Time Display for the Time Display Options menu (see Navigation below).

Rewind

Jumps the Play Head backwards in time. See Navigation for more.

Play

Pause

Starts or stops playback, at the Play Head’s current position.

Fast Forward

Jumps the Play Head forwards in time. See Navigation for more.

On Smaller Screens

If there isn’t room for all the controls (mainly on the iPhone in “portrait” orientation), some of them will be combined to save space. Undo and Redo can be combined, and so can Rewind and Fast Forward. When this happens:

  • The button will show the Undo or Rewind option as normal, but the Redo or Fast Forward option will be shown smaller & faintly
  • Tapping the button will Undo or Rewind
  • Holding the button will “unfold” the two buttons into a popup
  • When the popup is shown, you can keep tapping the buttons and it won’t fold away, so you can Undo/Redo or Rewind/Fast Forward as many steps as you like without having to unfold it again
  • Tap the

X

to close the popup

Tip: If you place your finger on the combined button, and swipe upwards, towards where the Redo or Fast Forward button will appear, it will activate that command without unfolding.

When you first open a project, the entire duration is shown. To see and work with your audio in more detail, you can zoom in, using the standard iOS “Pinch to Zoom” gesture. You can pan around by swiping/dragging the project, just as you would pan a zoomed-in photo or web page.

If you play back your project while zoomed in, Ferrite normally follows along with the Play Head, panning to keep it in view. You can turn this off by tapping the Time Display, which pops up a menu with a Follow Along switch. From here, you can also zoom in on the selection (if you have a clip or clips selected), zoom back out to the whole project, or jump to the Play Head.

The

Rewind

and

Fast Forward

buttons jump the Play Head by moving it to where an audio clip starts or ends. Each tap finds the next start/end in that direction. If your recordings contain bookmarks, it will find those, too: Bookmarks are shown as small dots in the Time Bar. When the Play Head is stopped at one, a small extract of the bookmark’s text is also shown.

You can also hold the buttons down, to jump quickly to the very beginning or end of the project.

Editing Tracks

There are some controls that affect an entire track. These controls live on a sheet of glass at the left-hand side of the track, and can be folded out of the way to make more room for editing (on iPhone, where the screen is smaller, they are automatically folded in Portrait view). To unfold them, swipe your finger out from the very edge of the screen. You will see:

Tools Button

Opens the Track Tools Menu. This contains more track commands, including those to turn Automation and Effects on or off, and is described in more detail below.

Play / Mute / Solo Button

A “speaker” icon. If the track is muted, it will have an X next to it. If soloed, it will have a star next to it. Tap to change modes.

Play

The track plays normally, as long as no tracks have been soloed.

Mute

The track is always silent. Muted tracks are shown grayed out.

Solo

The soloed track will play, but all other tracks will be silenced (unless they are also soloed). Silenced tracks show their audio clips grayed out.

Track Volume

A dial that sets the loudness of the track.

Track Pan

A dial that adjusts the stereo position of the track, pushing it toward the left or right speakers.

VU Meters

These display the audio volume levels, for the track’s left and right channels. They’re measured in decibels, relative to the maximum level that can be played without “clipping”. They show the output level — the volume level after all the effects, panning and the track volume control have been applied.

The Track Tools menu lets you:

  • Play, Mute or Solo a track
  • Specify Ducking for a track

  • Edit the Track Effects

  • Add Automation to the track

  • Select all the audio on a track

  • Delete a track you no longer need. Remember, deleting a track only removes its audio clips from the project. No audio is deleted from your device when you do this.

  • Open the Ducking Settings (these apply to the entire project)

  • Show or hide all the Automation tracks.

  • Change the order that tracks appear in (this has no effect on the resulting audio, it’s just so you can keep your projects organised if you wish).

Ducking

Ducking is where the volume of some audio is automatically lowered whenever another piece of audio is playing, so as not to interfere with it. For example, you might want some background music to be “ducked down” behind a voice-over. A track can either be:

Duck King

When a track is a Duck King it will always play at its regular volume, and other tracks will “duck under” it. You might set this on the voice-over, for example.

Duck

When a track is Ducked, it will turn its volume down automatically when a Duck King track is playing. It will turn itself back up again when the Duck King is quiet. You might set this on the background music.

Duck Off

When a track is told to Duck Off, it doesn’t participate in ducking at all. It won’t turn its volume down, and it won’t cause other tracks to turn theirs down either.

If you open the Ducking Settings panel, you can adjust the ducker’s sensitivity, speed and strength. The Threshold is the loudness the Duck King must be below, to be considered silent. The Speed is how quickly you want to the other tracks to turn themselves down when the Duck King starts playing, or back up when it stops. The Strength controls how much the other tracks turn themselves down by. The Ducking Settings affect ducking across the whole project.

Final Mix

Each track in your project is mixed together to produce the finished result. The Final Mix bar represents this mixed-together audio — the left and right VU Meters on the bar measure the final volume of your mix: the audio as it will be shared/exported.

You can also add Automation and Effects to the Final Mix, just like you can for tracks. For example, if you want to fade the entire project in/out at the beginning/end, setting up Volume Automation on the Final Mix is usually easier than adding it to each individual track. Tap the

Final Mix

button to open the Final Mix Tools menu.

Post Production

  • Post Production is only available to customers who have purchased the Pro upgrade

The Final Mix menu is also home to Post Production commands: these are powerful commands that take too long to apply “live” — you can’t hear them while you’re editing your project, but they can be applied when it’s finished and you share it.

Auto Levelling

This command will analyse your completed project and automatically adjust volume levels to try and keep them smooth and even. Quieter sections will be turned up, louder sections will be turned down, and “clipping” will be avoided — it’s like a smart compressor, normaliser and peak limiter all in one.

Post Production is also where you can create MP3 Chapters .

Basic Edits

Audio clips are shown as blocks, placed on the tracks, with a picture of their audio waveform on them.

You can select any clip of audio by tapping on it. If you’ve added more audio, you can tap a different clip to change the selection, or tap some empty space to clear the selection.

Selected clips can be moved simply by dragging them around with your finger. You can drag them left or right to move them earlier or later in the project timeline, or you can drag them up and down to move them from one track to another.

You can split the audio into separate pieces simply by swiping your finger from the top of the selected clip, to the bottom, at the position where you want to the split to occur. Like cutting a loaf of bread with a knife, or opening the zipper on a jacket, swiping downwards across the clip separates it into two pieces.

To join clips together, push them against each other, then swipe upwards — just like cutting, but in the other direction.

Tip: If you find these gestures tricky, you can also split and join clips using the Editing Menu . It’s worth practicing the gestures, though, as they’re real time-savers!

If you need greater accuracy while making cuts, you may find it helpful to zoom in on your project — the closer you’re zoomed in, the easier it is to make precise edits because everything is larger relative to your finger.

Another way to get greater accuracy is to move the Play Head to the position you want the cut or join to occur. The Play Head has a line extending down across your project: when you swipe your finger along this line, Ferrite understands that you want to cut precisely at the Play Head even if your finger wobbles a bit.

More Editing

You can drag the edges of a clip to shorten or lengthen it. Dragging the clip to be shorter (from either end) trims unwanted audio from the clip, but the audio isn’t permanently destroyed (audio is never permanently destroyed in Ferrite unless you delete the audio from the Library). If you drag the clip back out again, it “uncovers” the hidden audio.

This works even if you delete a piece of audio from inside a clip — for example, by swiping twice, to split the audio into three clips, then deleting the middle clip. You can restore it by extending either of the outer two pieces to fill the gap.

(Of course, if you made a mistake in deleting a clip, you would normally just tap

Undo

to restore it. But if you’ve made other changes since, and later decide you want to restore some of the audio you removed earlier, you can do that just by dragging the edges.)

Advanced Edits

You can easily make clips fade in or out: When a clip is selected, you’ll see a couple of handles with “ramps” inside them, sat at the top of the clip. Drag these to adjust the duration of the fade: the handle marks the point at which the clip will be at its full volume (whatever you’ve set with the Track Volume dial).

You can also crossfade between pieces of audio. A track can mostly play only one piece of audio at once — if you need two pieces to play at the same time, you should place one of the pieces on a separate track. But, if you drag a piece of audio so that it overlaps another piece, Ferrite will create a crossfade between them.

It will show the crossfade using shaded areas, similar to the fade in/out at the edges of a clip. The crossfade’s duration is set by how much the clips overlap.

If you position a piece so that it’s completely contained within another piece (instead of just partially overlapping it), Ferrite will crossfade to it at the start, and crossfade back at the end. The timing of the crossfade is controlled by the usual fade in/fade out controls on the “inner” clip.

Tip: This can be useful for “bleeping out” words. If you keep a bleep sound effect in your Library (or a cartoon sound effect, or whatever you prefer), then you can just drop it in on top of the word(s) you want to remove.

If you already have two pieces of audio overlapping, and try to drag a third so that it overlaps both of them, the clip you are dragging will light up red and turn ghostly, showing that Ferrite will not let you drop it there. When you let go, the clip will scoot back to its original position.

Editing Menu

If you tap on a selected clip, a menu will pop up, with a number of additional commands:

Cut

Copy the audio clip to the Pasteboard, then Delete it.

Copy

Copy the audio clip to the Pasteboard.

Note: Clips copied this way can’t be pasted into other apps. To send audio to another app, pick an item in the Library, and tap Share.

Paste

Paste audio clips that you previously Cut or Copied. This will not appear if the Pasteboard is empty, or if pasting it at this location would cause too many pieces of audio to overlap.

Delete

Remove the selected clips from the project.

(Remember, the audio files themselves are not permanently removed)

Split

Split the selected audio clip into two pieces, the same as swiping down across the clip. You can use this to split several clips at the same time (see Multiple Selections ).

Join

Join the selected audio clips together, the same as swiping up across the join between them. They must be pushed up against each other first.

Zoom

Zoom the display in or out until the selection fills the screen.

Import…

Opens a browser showing your Library. You can pick an audio item to be added to the project; it will be inserted at the selected track and time.

Strip Silence…

Remove silent sections from the selected audio.

Tighten…

Pack together audio clips to tighten up the timing of tracks.

(not available in free version)

Share…

Share either a single audio file created using all the selected clips, or a zip file containing an audio file for each selected clip. This includes the results of effects and automation.

(not available in free version)

As well as tapping on selected clips, you can also tap on the empty space of a track to pop open the menu. If you had a clip selected already, this will deselect it, but otherwise, the menu will appear, showing the commands that work even without a clip selected (“Paste” and “Import…”).

Strip Silence

The “Strip Silence…” command slices out silent (or nearly-silent) parts of an audio clip. If you’re familiar with a “noise gate”, it’s similar, but the quiet portions are removed from the project altogether, not just silenced.

Strip Silence splits a single clip up into several clips, one for each continuous section of sound. For example, if you have a recording of someone “speaking… with… long… pauses… between… each… word… like… Shatner… or… Walken…” then apply Strip Silence to it, you will end up with one clip for each word, with empty space in the project where the pauses used to be.

When you select the command, the Strip Silence control panel appears at the bottom of the screen. As you adjust the controls, blue shading will mark the regions that will be cut out (for very long pieces of audio, the Strip Silence command may take a little time to update when you change the controls. You’ll see a progress bar below them while this happens).

There are three Strip Silence controls:

Threshold

Sections of audio are only removed if they’re quieter than this level.

Edge Fade

With this switched off, you’ll get hard cuts between the sound and silent sections. Increase the fading, and the Strip Silence command will fade in just before the start of each piece of audio, then fade out when it returns to silence.

Minimum Silence

This is the minimum duration of silence between two sections of audio. If you’re working with very long audio, you should probably turn this up so your timeline doesn’t resemble the aftermath of a hailstorm. This can be particularly useful for projects such as interviews, if you have a separate recording for each participant.

Once you tap the Done button to confirm the command, the sections marked in blue are deleted from the timeline. Note that the audio left behind is not moved to fill the gaps — the timing of your project is unchanged. You can use the Tighten Audio command afterwards if you want to “ripple” all the deleted sections.

Tip: Like all edits in Ferrite, Strip Silence is non-destructive: the silent parts of the audio are removed from the project, but they are not removed from your device, and can be restored either by tapping Undo, by dragging the edges of the pieces to “uncover” more of the audio, or even simply adding the audio back into the project.

Note: While the panel is open, you can zoom in and out of your project, pan around, and listen to it, but you can’t make edits until you either confirm or cancel the Strip Silence command.

Tighten Audio

  • The Tighten command is only available to paying customers

After using the Strip Silence command, or after some manual editing, you might have a bunch of clips with gaps between them. The Tighten command takes those gaps out so that the clips are pushed against each other.

Select two or more clips, and pick Tighten… from the menu. The Tighten control panel appears at the bottom of the screen, and the selected audio clips will move to their new positions.

Amount

Controls how much Tightening is applied. At zero, there’s no change from the original clip positions, but as you turn it up, the clips are pulled towards each other.

Minimum Silence

This is the minimum duration of silence between two audio clips. At zero, clips will be pushed right up against each other, but this can sound unnatural, since people usually need to take a moment to breathe between sentences.

Turning this up will set a minimum gap between clips. This affects only clips that are Tightened: clips that were already closer than this, will not be pushed apart.

You can select clips across multiple tracks — even the whole project, if you like. When you Tighten clips across tracks, they move with each other, so that if, for example, you have an interview with two people, one on each track, their questions and answers won’t get out of order.

If you have Automation Control Points selected as well as audio, then when you tighten the audio, those Control Points will be moved to match the audio they were lined up with.

Note: While the panel is open, you can zoom in and out of your project, pan around, and listen to it, but you can’t make edits until you either confirm or cancel the Tighten command.

Ripple Insert And Delete

When you delete a clip, you’ll see some blue shading in the area where the clip used to be, and you’ll be offered the choice to “Ripple” the delete. If you Ripple a delete, it means that any audio after it in the track will slide along by the length of the audio you just removed. So for example, if you did this:

  • Opened a project with a single 10-second clip of audio at the start of the project
  • Split the clip at 3 seconds into the project (you’ll now have two clips, one directly after the other: a 3 second clip, then a 7 second clip.)
  • Selected the first clip, and deleted it

…then if you don’t Ripple, you’ll have a project with 3 seconds of empty space at the start, and then the rest of the clip. If you wanted to insert a different piece of audio there, this is probably what you want.

But, if you tap Ripple, the second clip (7 seconds) will slide to the beginning of the project, with no gap. This is probably what you want, if you just wanted to trim off some unnecessary audio from the start of the clip.

The Ripple Menu also offers an “All Tracks” option which applies the same ripple across every track, not just the one you deleted from.

If you don’t want to Ripple, just tap anywhere else to dismiss the Ripple menu.

(If you never want to Ripple, you can turn the feature off entirely in Ferrite’s Settings .)

Whenever you import or paste audio, you’ll be offered the choice to “Ripple” it too. This is similar to Ripple Delete, but in the other direction: any audio in the track after the piece you added, will be moved along to make room for it.

Just like with Ripple Delete, you have the choice to Ripple Insert on one track or all tracks, and the feature can be turned off entirely in the Settings.

Multiple Selections

You can select more than one clip at once. If you do, you can edit all the selected clips in one go:

  • You can cut, copy or delete all the selected clips
  • You can move the selected clips around the project
  • If you make a split using the editing menu, it will extend across the entire selection at that point in time, so you can cut several tracks at once, at exactly the same spot.

You can’t crop/uncrop, or fade in/out multiple clips at once.

To select multiple clips:

  • Hold your finger down on a clip, as though you were going to drag it. But don’t move it yet.
  • While holding it, tap another clip. It will be added to the selection
  • If you tap an already-selected clip, it will be removed from the selection.

It can often be convenient to select everything past a certain point on a track. You can do this by selecting a clip, then double-tapping on it: all of the clips after it on the same track will be added to the selection. Triple-tap, and it will extend this across all tracks in the project.

You can also select all the clips on a single track from the Track Tools menu. And there’s a short-cut for adding clips to the selection, using some “optional extra” Two Finger Editing Gestures or the Apple Pencil™ .

Effects

  • Effects are only available to customers who have purchased the Pro upgrade

From the Track Tools menu, you can add effects to your tracks. Effects change the way a track sounds when it’s played back. Because they’re only applied at the moment the sound is sent to the speakers (or exported), you can adjust them as often as you like.

When you open the Effects submenu, you’ll see a list of the effects available (also shown below). Tap one to add it to the track. To remove it, or change the order in which the effects are applied, tap the

Edit

button.

Once you’ve added an effect, tap it again to open its settings. The settings depend on the effect, but are usually dials that control how strongly the effect should be applied, how quickly the effect should respond to changes in your audio, and so on.

You can also Automate effect settings. If you’ve automated a setting, its dial will be disabled.

Compressor

A dynamic range compressor. A sort of souped-up automatic gain control, it makes quiet sounds louder, and loud sounds quieter.

Equaliser

A sophisticated multi-band equaliser and visualiser. Allows you to view and shape the frequency bands of your audio. See below for more information on this effect.

High Pass Filter

Cuts off any sounds below a certain frequency. Can give the sound a tinny, telephone-like quality. Can also remove some kinds of low-pitched rumble.

Low Pass Filter

Cuts off any sounds above a certain frequency. Can give a muffled or distant quality to sound, or remove some kinds of high-pitched noise.

Mid-Side Decode

Some high-end field recorders have a “Mid-Side Stereo Recording” feature. Instead of recording separate left and right channels, they record a “middle” channel and a “side” channel. If you play back audio recorded using this encoding in an app that expects regular stereo audio, it can sound strange. This effect decodes Mid-Side recordings into regular stereo for use in Ferrite. You can set the amount of stereo spread, making the result sound “wide” or “narrow”. You also need to tell it which channel is the “side” channel — this information should be in the user guide for your field recorder.

If you use Mid-Side Decode, you should always place it first (at the top) of the effects for a particular track, and you should only place Mid-Side clips on that track.

Noise Gate

Cuts off any sounds below a loudness threshold. Often used when you’ve recorded someone speaking but have background noise — it can’t remove the noise while they’re talking, but at least in the pauses, the noise will be silenced.

Warm Amplifier

A warm, resonant amplifier which can add “presence” or “richness” to a track.

You may also see additional effects. These are not part of Ferrite, but are “plugins” that can be used with it. See Audio Unit Extensions for more on this.

Equaliser

The equaliser effect boosts or reduces audio according to frequency. It’s very customisable — you can add up to 8 “bands”, each of which can boost or reduce a different range of frequencies by a different amount.

You control the equaliser using a graph that both shows the bands you have added, and (optionally) the frequencies of the audio as it plays. A sliding control below the graph allows you to switch the visualiser off, set it to show the frequencies of the original audio before the equaliser affects it, or the frequencies of the audio after the equaliser has boosted or reduced the audio.

On the graph are a dashed line marking “0 dB” (the point at which audio is neither boosted nor reduced), and a series of circles, one for each band you have added. Bands come in different types — an icon inside the circle shows what type it is.

  • Tap the

+ Add button to add a new band. * Tap a band to select it. * The frequency (and the gain and bandwidth, where supported) for the currently selected band are shown at the top of the equaliser control panel. * Tap the selected band to delete it or change its type. The types are:

Off

Set this type to temporarily switch a band off without deleting it.

Parametric

A flexible general-purpose type that boosts or reduces audio frequencies close to the band frequency.

Low Pass

Allows audio through if it’s lower-frequency than the band frequency, blocks audio if it’s higher frequency. (Available in regular and resonant variations.)

High Pass

Allows audio through if it’s higher-frequency than the band frequency, blocks audio if it’s lower frequency. (Available in regular and resonant variations.)

Band Pass

Allows frequencies through only if they are close to the band frequency.

Notch Cut

Removes frequencies if they are close to the band frequency.

Low Shelf

Boost or reduce frequencies lower than the band frequency. (Available in regular and resonant variations.)

High Shelf

Boost or reduce frequencies higher than the band frequency. (Available in regular and resonant variations.)

  • Drag the band left or right to adjust the frequency the band affects.
  • Drag the band up or down to increase or decrease the gain. (Not all types support gain control. Parametric and Shelf types do, the others always remove as much of the blocked frequencies as they are able).
  • Pinch/unpinch the band to increase or decrease the bandwidth. The wider the bandwidth, the wider the range of frequencies are affected. (Not all types support bandwidth control. Parametric, Band Pass and Notch Cut do; the others only support bandwidth in the Resonant variations.).

Each band has a letter associated with it (A thru H). If you automate EQ parameters, you can use this to make sure you are automating the right bands. When an EQ parameter is automated, you won’t be able to edit it in the EQ control panel — it will instead track the automation during playback.

Automation

  • Automation is only available to customers who have purchased the Pro upgrade

    The volume and panning of a track, and the settings of Effects you have added, can be set to automatically change over time.

For something like a simple fade in/fade out, it’s usually easier to just use the fade handles on an audio clip. Automation is useful when you need complex or precise control, or to affect the Final Mix.

Tap the

Tools Menu

button for the track you want to automate (or tap the Final Mix), then tap Automation to see the list of things that can be automated. For a new track, this will be Volume and Pan, but if you’ve added effects to your track, their settings will appear here too.

Pick the setting you want to automate — for example, “Track Panning”. This will create a new Automation Track and attach it to the bottom of the regular audio track (it will also disable the dial you would usually use to control the setting, since the Automation Track is in charge of that now).

You can stack up a whole list of automation tracks if you like. When you scroll through them, the audio track they are attached to will “stick” when it hits the top of the screen, so you can always see how the automation lines up with the audio. (From the Track Tools menu you can also hide all the automation tracks, to tidy up your screen.)

Each automation track controls one setting, and displays a graph of how that setting changes over time. If you have the glass side panel showing, it contains an extra dial to assist in editing the automation.

Editing Automation Tracks

Automation is controlled using “Control Points”. Control Points are dots on the graph that you can move around. They record the value of the setting at a moment in time, e.g. “at 5 seconds from the start, the volume should be 100%”.

In between Control Points, Ferrite automatically slides the control to the new position, so it’s easy to create smooth fades, pans and other effects. You can change how it does this in the Settings : the default behaviour is to create a smooth curve that flows through all the points, but if you prefer, you can switch to using straight lines.

There are three different ways to edit Automation: Play Head & Dial , Live Recording , and Graph Editing . You can use whichever you prefer, or a combination.

Play Head

& Dial

You can move the Play Head to a particular time, then adjust the side panel dial for an automation track. If the Play Head is pointing to a Control Point when you adjust the dial, that Point will be adjusted. If not, a new Control Point will be added first, then adjusted.

Live Recording

You can press

Play

, and while listening to your project, adjust the side panel dial. Your changes are recorded live, as a series of new Control Points, added to (or replacing) the existing ones.

Control Points are only created as needed, so if, for example, there’s a long section where you want the setting to stay unchanged, it will simply mark the beginning and end of that section with the same value.

Graph Editing

You can adjust the graph in the timeline directly, by tapping, holding and dragging:

Tap

Create a Control Point. The Control Point will always start on the graph line, even if you tap above/below the line.

Hold

See the exact value of the Control Point under your finger.

If you hold between two Control Points, it will show the values for both.

With the value(s) showing:

Drag Point Left/Right

Move the point earlier/later in the timeline.

To delete a point, drag it until it “bumps into” another Control Point.

Drag Point Up/Down

Adjust the value of the point(s).

Tip: When editing the graph, you don’t need to tap/drag exactly on the line or Control Point itself (since the line/point might be right on the top or bottom edge of the track, that could be awkward). It’s usually easiest to tap/drag in the vertical centre of the track.

Selecting Automation

You can select several automation Control Points at once, and move them all in a block. There are several ways to do this, and you can select automation and audio at the same time, so that they all move together:

Fingers/Pencil

The two-finger swipe and Apple Pencil™ editing gestures can also work with automation Control Points, allowing you to quickly select or delete a bunch of them at once. You can adjust this behaviour in the Settings , if you prefer to select audio across multiple tracks without selecting any automation in between.

The “Select Automation (Toggle)” command

Found in the Shortcut Bar or the keyboard shortcuts , this adds to the selection any Control Points contained within the time range of the selected audio clips. If all the Control Points that can be selected, already are, then it removes them from the selection, to leave only the audio selected.

Automatically Select

You can enable this in the Settings . Then, whenever you use commands like Select All, Select All Following etc to select multiple pieces of audio at once, Ferrite will also select matching automation Control Points (e.g. all the Control Points in the case of Select All, or all the Control Points from the selected audio onwards the case of Select All Following). Note: this setting doesn’t affect what happens when you just tap on a single piece of audio to select it.

The main use for this is sliding audio and automation left or right along the timeline, so they stay in sync. But, if you select several Control Points on a single automation track, you can also move them all up or down at once.

Note: You can’t drag automation from track to track, so when you have Control Points selected, you can’t move the selection to a different track — remove the Control Points from the selection first.

Removing Automation

If you open the Track Tools Menu and pick Automation, you can simply tap on an automated setting to remove the automation. This will hide the automation track from the screen and switch off the automation, returning to manual control for that setting.

Your automation isn’t deleted, though: it’s kept in case you need it again later. if you change your mind and turn automation back on for that setting, Ferrite will ask you if you wish to restore it. If you’re not sure, restore the automation and see if it’s what you want — you can always Undo if it isn’t.

MP3 Chapters

  • Chapter editing is only available to customers who have purchased the Pro upgrade

Note: Chapters will be included when you export an .MP3 or .WAV file, but not other audio file formats.

.WAV file markers do not support features like images, links or hiding — Ferrite will add a “marker” at start of each chapter, containing the title.

However, if you export your project as a video, in Ferrite 2 Pro, chapter images can be used to make a slideshow.

You can also share chapter information as .TXT or .JSON files from the project Share Sheet.

Chapters are markers that you can place into projects at particular moments in time. While you can use them to quickly jump around a project while editing it, they are designed to be included in the final .MP3 file when you export it, typically for use in podcasts. Many podcast players allow listeners to skip straight to the start of a chapter, and some can display custom artwork for each chapter, or allow a chapter to contain a link to a website.

To edit chapters, open the Final Mix menu and tap “Edit MP3 Chapters” (you can also use the Shortcut Bar if you have that enabled). A panel slides over the editing area containing a list of chapters — initially, this will be blank.

While the Chapters panel is open, you can’t edit your project, but you can still move the Play Head, use the Play/Pause, Rewind/Forward and Undo/Redo controls, and pan/zoom around. Tap outside of the panel to dismiss it.

On iPhone — or on an iPad if you have used split-screen multitasking to reduce the screen space available to Ferrite — the Chapter panel will fill the screen. Play/pause and navigation controls will appear at the bottom of the panel so you can listen to and move around your project.

Tap the

+ Add button at the top of the Chapter panel to add a new chapter. The chapter will start at the Play Head’s current position, and continue either to the start of the next chapter, or the end of the project.

Tap the chapter to jump the Play Head to the start of that chapter.

Tap the chapter’s

Info

button to edit its name, to add artwork or a link, or to move or delete the chapter.

You can also swipe on a chapter in the list to quickly move it to the Play Head or delete it.

On iPad, you can also create or update chapters by dragging and dropping text, links or images from other apps.

You can save chapter Presets for re-use later — great for ad breaks or recurring segments in a show. These will include the title, link and artwork if present. You can create a bookmark the usual way, tap to edit it, then use the presets button to select the preset, but there’s also a shortcut: If you hold down the

+ Add Chapter button instead of tapping it, the presets list will appear and you can select a preset chapter to create at the Play Head.

“Hidden” Chapters

In the Chapter Info screen, you can set whether chapters appear in the Table of Contents. Normally, you want this to be on (the default), so listeners can skip straight to the chapter from the contents page. However, if you leave a chapter out of the contents, but give it artwork, well-behaved podcast players will still show the artwork at the relevant time. This can be useful if you want to create slideshows, add images relevant to the discussion, etc without cluttering up the table of contents.

Chapters are normally locked to the timeline, meaning they only move if you move them yourself, but at the top of the chapter list is a switch you can flip to “Link to Audio”.

When this is set, chapter markers will be automatically moved when you Tighten Audio , or Ripple Insert or Ripple Delete audio earlier than the chapter in the timeline.

Chapter markers will also be dragged when you move audio by hand, if the selection overlaps the chapter marker.

Additional Information

Compression and Sharing

There are many different formats for storing digital audio, each with their own advantages and disadvantages. Ferrite will import audio clips in many of the common ones so you can use them in your projects.

When it comes to recording audio, or sharing projects, you have a choice of formats, depending on your needs. These choices are separate — you can record in one format, and share in another, if you wish.

Recording Original Audio

When you record in Ferrite, your audio is compressed. Ferrite supports two different kinds of compression for recordings. You can select which in the Settings :

Lossy (AAC .m4a)

This is the default. It retains a high quality of audio while using less storage space. The recordings are stored as MPEG-4 Audio using Advanced Audio Coding, a widely supported format — it’s commonly used when you purchase or stream high-quality commercial music.

Although the quality is very good, and most people cannot tell the difference, it is not perfect: some information is lost when using this type of compression.

Lossless (ALAC .caf)

If you need the best quality possible, this stores the audio perfectly. When you play it back, the audio signal is an exact, bit-for-bit match for what was recorded, but will also use more storage space. It’s not supported by as many other apps, but because it’s lossless, if you need to convert it for use in another app, that can be done without additional loss of quality.

Note: This only affects the way that recordings are stored. Selecting perfect lossless compression does not guarantee perfect audio quality: it means that the audio is a perfect reproduction of what was received by Ferrite, which depends on many factors outside our control, such as your choice of microphone.

For example, if your original audio has hiss or other noise, picking Lossless just means that Ferrite will perfectly preserve that hiss or noise for you!

Choosing a compression type only applies to recordings. If you import audio from your Music Library or another source, that audio is kept unchanged. For example, an imported .mp3 file is still kept in .mp3 format.

Sharing Original Audio

When you export a recording — post it on a social networking site, send it to someone, or save it to a file storage service — Ferrite checks to see what format it is in.

If the audio is already appropriately compressed — if it was recorded in Lossy AAC/.M4A format, or is an imported file that was already in that format, or a similar one — Ferrite will simply share the file as-is: it will not degrade the quality by decompressing it and recompressing it again. Otherwise Ferrite will export it in the Sharing Format chosen in the Settings — this defaults to Lossy AAC/.M4A format. This is to save space, time and bandwidth, and because it’s widely supported by other services.

If you have audio that you do wish to share in its original format regardless of the Settings — for example, if you want to save the recording to Dropbox for someone else to edit, and don’t mind the larger file size — you can. After you tap Share, look for the “Original File” option. When you tap this, the Share panel will briefly close and reopen: now select the service you want to export to, and the original file will be shared, unaltered.

Warning: Remember that lossless audio can be much larger, use a lot of storage space, and if you’re sending the audio over a cellular connection, it may take a long time to share, and use a lot of mobile data. Be certain this is what you want!

Sharing Projects

  • Exporting projects in Lossless or Wave format, as separate tracks (“stems”), as videos, or adjusting settings bitrates or mono conversion, are only available to paying customers

When you export a project, Ferrite will normally use Lossy AAC/.M4A compression for the same reasons of space, time and bandwidth as before. In the Settings you can instead change your Sharing Format to Lossy (.MP3), Lossless (ALAC .CAF), and you can also pick Uncompressed Wave (PCM .WAV) format. Wave files are not compressed at all, and so they take up the most space. However, almost every other audio app will understand them, so they are popular for this reason despite their huge file sizes.

When you select a sharing format in the Settings, you can also customise the options for it. For lossless formats, you can choose to automatically convert to mono on export by tapping the Mono/Stereo indicator. For Lossy AAC/.M4A compression, you can also pick a bitrate, and for .MP3 files you can either pick a Constant Bit Rate (CBR), or pick a Variable Bit Rate (VBR) quality. In most cases, you want to export in the highest quality possible, but if you’re creating a podcast or another file that lots of people are going to download, you might want to make a trade off, and share using a lower quality that’s smaller and faster to download.

Exporting a project using Lossless or Wave format can be particularly useful if you don’t want to upload the audio file immediately, but instead want to send it to another app for further processing first.

Note: When exporting MP3s for podcasting production, we recommend the use of CBR files, as some podcast players get confused by VBR MP3 files.

Other Features in the Sharing Panel

Another way to share projects is to save them as videos — this can be useful for sharing to social networks. When you share a project, you will see a “Video” option in the sharing panel. If you tap this, Ferrite will create a video from your project, which you save to your Camera Roll or share. Note that Ferrite is not a video editor — it will use a still image for the video. If you have added cover art to your project, this will be used, otherwise the Ferrite icon will be used.

The Convert to Mono command can be used on both projects, and on stereo recordings. There are two different ways to do this, and Ferrite will ask you which you want:

Split to Separate Tracks

The left and right channels will be written to separate mono files. This is useful for interviews where the interviewer, and interviewee, are miked up separately and recorded to differt channels — you can split the recording, import the resulting audio into separate tracks, and edit them independently.

Merge to One Mono Track

The left and right channels will be combined and written to a single mono file. This is useful if you’re going to be broadcasting in mono.

You can also share projects as separate tracks (commonly known as “stems”). You might do this if you wanted to finish editing on a desktop computer, for example. It creates a lossless .WAV file (for maximum quality & compatibility) for each track, and packs them into a .zip file for sharing.

Long Recordings

Ferrite doesn’t have an upper limit on the duration of a recording (in the paid version — if you have not paid, you are limited to one hour per recording).

Of course, your device is not infinite, and will eventually run out of space, and recording files can get very large, even with lossy compression.

Ferrite does not mind if recordings get very large, but other apps might, if you try to send large recordings to them. Therefore, Ferrite takes the following steps:

  • If a recording gets above around 500MB in size, it is automatically split into parts. Each 500MB part is recorded into a separate file. The exact recording time this corresponds to, depends on your recording source (eg mono/stereo), compression (lossy/lossless) as well as the content of the audio. A lossless stereo recording can reach around 45-50 minutes before needing to start a second part. Mono recordings, or using lossy-compression, can extend the duration much further before this happens.
  • Inside Ferrite, all the parts are still treated as a single audio clip in your library, joined together. It can still be edited as a single audio clip, and the parts will fit together seamlessly without any “cut”, “pop” or “click” where they join.
  • The only difference within Ferrite itself is that a tiny “multi part recording” icon appears next to them in the Library, by the duration/date information (right alongside where the bookmark icon appears).
  • The files are split so that if you want to copy the files to your computer directly via a USB/Lightning cable , you can. iTunes sometimes refuses to copy very large files, so by keeping each piece below 500MB we hope to avoid this problem (obviously, we can’t guarantee the correct functioning of other apps, we can only make sure our own behaves as politely as possible!)
  • When you share a recording (eg by email, sending to another app, iCloud, Dropbox), Ferrite will try joining the pieces.

The overall effect is that you shouldn’t need to worry about the size/length of a recording, or how many parts it needs to be in — it should all just work, seamlessly — unless you need to share uncompressed audio with other apps.

Note: In order to keep the app fast to use, Ferrite needs to do some “pre-processing” of a file before it can be edited. Normally this happens while the recording is being made, so there is no delay. But if you import an audio file from elsewhere, then this will happen when you first edit it. The larger the file, the longer this will take — on older devices, perhaps a second of processing per minute of audio. It’s much faster on modern devices.

You can still work with a project while this processing is happening, but the visuals for that file will be “blanked out” until it has finished.

This usually only needs to happen once per file, but if you lose your device and have to restore from a backup, the files will need to be re-processed (hopefully that isn’t something you have to worry about!)

Transferring Audio to a Computer

As well as using the built-in import and export commands, you can copy audio in and out of Ferrite by connecting your device to a computer and using Finder (on Apple Macs running macOS 10.15 “Catalina” or later) or iTunes (on PCs, or Macs running older versions of macOS). This can be useful if you have very large files to transfer, as it’s usually faster.

You do this using an Apple feature called App File Sharing. Apple provide details on how to use it on their support site.

This Apple feature will show all the files from The Library and you can copy them to your computer’s desktop. You can also copy new audio files in to Ferrite to use them in your projects.

Ferrite stores audio in special folders. This is so that it can save additional information alongside the audio file, such as your bookmarks. When you copy an audio file in to the Library, Ferrite will automatically move it into the right folder once it has finished copying.

If you want to copy an audio file back to the computer, you can, but you’ll need to copy the right folder. The folder will be named the same as the original audio file, but with an extension added. For example, “My Recording.wav” will be stored in a folder named “My Recording.wav.ferrite-audio”.

When you copy this to a computer, you can open it up and you will find the original audio file (e.g. “My Recording.wav”) preserved safely inside. If you’re using an Apple Mac, you may find that the Finder treats the folder as a single file — if this happens, Ctrl+Click (or right-click) on it and pick “Show Package Contents”. This will open the folder so you can access the files inside.

Viewing History

If you have a project open and hold down the

Done

button in the toolbar, you will enter History. This lets you view earlier versions of your project — like a “Super Undo/Redo”. When you enter History, the editing area floats away a little, and you can’t make changes to the project. You can still pan around, zoom in and out, undo and redo, move the Play Head around, and of course listen to your project.

You’ll also see the History Line. This represents the time you’ve been working on your project. You should see a highlighted circle with a date and time above it. This is the Current Version being shown in the editor. If you tap Undo or Redo, you’ll see it move back and forwards along the History Line, and the date and time updates to reflect when that version was made. You can also drag the Current Version marker, or tap anywhere in the History Line to jump straight to the nearest version.

For example, if you started your project last week, made some changes today, but aren’t sure if you like the new version or the old version better? Enter History, drag the Current Version marker until it shows last week’s date, and tap Play to listen to the older version. Jump back and forward comparing them, and decide which you prefer.

When you’re finished with History, just tap the Done button again and everything will be restored to normal. If you do this while an old version is selected, it will ask you if you want to go back to the most recent version (your latest changes), or if you want to Undo all the way back to the version you’ve selected.

Warning: Remember that if you Undo, then make changes, your new changes overwrite the old ones, so you can no longer Redo to get them back. With regular Undo/Redo, this is pretty much always what you want. With History’s “Super Undo”, you should be more careful as you could lose quite a bit of work this way. It’s safe to look through History as much as you like, but you should only “Super Undo” if you’re sure you don’t want to keep the changes you’ve made since then.

Tip: You can make a copy of a project by selecting it in the Library, tapping the

Share

button, then picking

Duplicate

. Since projects never change the original audio recordings they use, it doesn’t need to copy them, only the project itself, so this is fast and doesn’t take up much space.

The duplicate retains the entire History of the project, up to the point where you made the copy. After that point, they are now independent and you can edit or undo/redo changes to one, without affecting the other. This is another good way to try out changes that you’re not sure about.

Archives

  • Project archives are only available to paying customers

When you’ve finished your project and exported it as an audio file, what then? You can leave the project (and the audio files it uses) in your Library, but eventually you may want to reclaim the storage space they take up. On the other hand, if you delete them, it will make it difficult, if not impossible, to make new versions of your project later.

This is where Archiving comes in. Ferrite can create an Archive: a “.zip” file that contains a project and all of the audio files it uses. You can move this archive off your device — perhaps onto a desktop computer , or saving it to a cloud storage service like Dropbox. Once the Archive is safely backed up somewhere, you can delete the files from your device, and get your storage space back.

Then, if you ever do need to make a new version of the project in future, you can simply import the Archive back into Ferrite (using iTunes App File Sharing, or Ferrite’s Import Audio command) and unpack it. This will restore the audio files, and the project (including its full editing history ) for you to edit.

To make an Archive, tap on a project, tap

Share

, then tap the

Make Archive

icon in the sharing panel. Ferrite will take the project, and all of the audio files it uses, and pack them into a single Archive file which will then appear in your Library.

You can select it like any other item in your Library. Unlike an audio clip or project, you can’t listen to it or edit it, but you can get info about it, share it, or delete it, as you would for any other Library item. Instead of an

Edit

button, there’s a button to

Unpack Archive

, restoring the contents to your Library.

If you open the

Info

panel for an Archive, it will list the contents. You can select and unpack individual items, for example, if you only want to restore one audio clip from an Archive.

Note: Archive files can be very large. Although the Archives are compressed (losslessly), because Ferrite already compresses audio, they will typically still take up about the same amount of space as the originals. So you will need at least that much space free to make an Archive — making it better not to wait until your device is full before making Archives out of old projects!

For safety, we recommend checking to make sure your Archives have been backed up securely to another location before you delete your files or Archives from your device.

Quickly Sharing Archives

As a shortcut, if you have a project on one device and want to send it to another — as a project, not an audio file — you can use the

Share Archive

command. This will make a temporary archive of the selected project, re-open the sharing panel so you can share it, then remove the temporary archive (your project is not affected).

Templates

  • Project Templates are only available to customers who have purchased the Ferrite 2 Pro upgrade

If you produce a podcast, or something else where you regularly create projects that are part of a series, season, or show with a particular format, Project Templates can save you time.

If you create a template for that show, then when you’re ready to make a new episode, a single tap will make the project for you automatically, set up just the way you want it. You can also store Presets in a template, for convenient access while editing projects made from that template.

A template is similar to a project. In fact, you start by making an example project to show Ferrite what it should look like, then convert it into a template. To convert a project into a template, open the

Project Info

panel for it, tap the

Tools

button in the top-left corner of the panel, and pick

Make Template

.

Alternatively, select the project, tap the

Share

button, then tap

Make Template

in the Share Sheet.

Usually, you would want your templates to contain only the elements that are constant from episode to episode — the theme tune, for example, along with the settings like the cover art, author, copyright notices, etc. You can edit templates after you create them, so a good way to start is to take the most recent episode of your show, make a template from it, open the template up (by selecting it and using the

Edit

button, same as you would for a project), then delete anything you won’t be reusing.

Next, open up the

Template Info

editing panel. This is similar to the Project Info panel, but with some extra features.

The Template Title at the top of the page is the name used for the template when it’s shown in the Library, but all the other info will be used to fill in the details of a new project, when you create one from this template.

Creating New Episodes

When you look at a template in the Library, in place of the

Play

button you’ll instead find a

New Episode

button. Tap this to create a new episode from that template. It will contain any tracks, audio, automation, effects, chapters and other settings stored in the template.

You can also have audio files inserted into a project when you create it: tap the

Select

button first, then select the audio files you want to insert, then tap the

New Episode

button.

The audio files you selected will be inserted into the project in the order that you selected them. Each audio file is placed on a separate track. If your template contained blank tracks, these will be used. If there aren’t any blank tracks (or they run out), new tracks will be created, until you reach the track limit for the project. Additional audio files beyond this point will be ignored.

Note: For a track to be considered “blank”, it mustn’t have any audio clips on it. But it can have effects or automation applied, so you can build templates with your tracks set up the way you want them, and have audio dropped straight in to them when you create a new episode.

Placeholders

In the Template Info panel, when you edit the episode title, subtitle, filename, link, copyright notice or notes, you can fill in Placeholders. These are markers that indicate where different information will be filled in later for each episode — for example the episode number or the air date.

When you create a template from a project, Ferrite will look at the title of the original project, and try to spot the episode number and date, if present, and put Placeholders there for you automatically. If it guesses wrong, you can add, remove or change Placeholders to customise them to your taste.

You should see buttons for them at the top of the on-screen keyboard (or the bottom of the screen, if you have a hardware keyboard connected). Tap these to add a Placeholder at the cursor. The Placeholder shows what type it is, then an example of the text that will be filled in. This example will be replaced by the real episode number, air date or other info when you create each episode.

You can tap on the Placeholder to change which type it is. If you tap on the example text, you can change the way it will be presented (for example, the format of the date, the number of digits in the episode number, or whether other text is converted to upper or lower case, or left alone). You can delete Placeholders the same way you would delete any other text in the text field.

When you create a new project (episode) from the template, it will ask you to fill in the information used by the Placeholders. It will only ask you for information that’s actually used, and it will only ask you once no matter how many times the info is used in the template. Depending on how you format your episodes, this means you may be able to fill out most episode info automatically.

There are three Custom Placeholders — these are short pieces of text you can use for anything you like. For example, if you produce an interview show, you might decide to use one of the Custom Placeholders for the guest’s name, and then fill it into the title, show notes, etc. You can also paste in the contents of the clipboard, if it contains text when the episode is created (otherwise, the Clipboard placeholder will be skipped).

Presets

  • Presets are only available to customers who have purchased the Ferrite 2 Pro upgrade

Presets allow you to save the settings for various Ferrite features, such as Ducking , Strip Silence , Tighten Audio , Effects and MP3 Chapters .

You can create multiple presets for each feature and give them names, then load them back in later for quick re-use.

Each of these features has a

Folder

button — tap this to open the Presets browser for that feature. This lists the available presets, and an

+ Add button to save a new preset.

You’ll be prompted for a name for the preset. If you’re signed in to iCloud and Ferrite has permission to access it, you can also choose to save the preset to iCloud Drive so that it will be available on other devices.

Or, if you’re editing a project that was created from a Template , you can instead choose to save the preset into the Template.

If you do this, the preset will only appear in other projects created from the same Template, and will be shown at the top of the list for quick access — handy for chapters used in a particular podcast, or effects you always use in a particular show.

To remove a preset you no longer want, swipe across it from right-to-left to reveal the

Delete

button. This also reveals a

Folder

button which allows you to rename a preset, or move it (e.g. from inside a Template to On My iPad).

Note: Ferrite supports “plug-in” effects in the form of Audio Unit Extensions (AUX). Ferrite 2 Pro can save presets for AUX effects, providing they support it — AUX effects are not part of Ferrite, and some AUX effects might only support built-in presets that are part of the effect itself, or may ignore custom presets.

Tagging

Tagging is a way to organise your Library. It works by attaching one or more “tags” to recordings, imported audio or projects. Tags are just short text labels — the text can be whatever you like (including emoji!). When you want to find something again, you can ask Ferrite to hide everything in the Library that doesn’t match certain tags. How you use this feature is up to you, but some suggestions:

  • You could tag audio according to what kind of content it is: music, interviews, voice-overs, adverts, special effects
  • You could tag audio and projects according to the project they belong to, for example, a particular radio show or podcast, or specific episodes
  • You could tag recordings with the names of people who appear in them
  • You could tag items with their status, such as “work in progress”, “finished”, “broadcast”
  • You could tag different “takes” of a recording with which ones you like the most or least.

You can associate more than one tag with an item, and you can search for more than one tag at a time — this will only show items with all the tags. So you can quickly find (for example), all the interviews, that have been finished, featuring Alice and Bob.

Whenever you are viewing the info for an item in the Library, there will be a section for editing tags. First, it will list the tags that apply to the item (if any). Simply tap one to remove it from the item.

Next, there is a space for you to type in new tags. If you have a lot of tags, you can also use this to locate a tag quickly — as you start to type, it will only show tags matching what you’ve typed so far. When you tap the Return key on the keyboard, the tag will be attached to the item (unless the item already had that tag, in which case it will be removed).

Finally, there will be a list of all the tags that are not currently attached to the item, but are used on other items in your Library. You can simply tap one to also apply it to this item.

Searching for items using tags is easy: in the

Search

box at the top of the Library, tap the

Tag

button (it’s only shown when you have applied tags to items) and it will show all the tags used anywhere in your library. Tap a tag to add/remove it from the search list. Items will only be shown in the library if they have those tags attached.

Colours

  • Assigning colours to tags is only available to paying customers

    You can also assign colours to tags in the Settings . The “Tags & Colours” section shows a list of all the tags, with a colour next to each one, or a dotted empty circle if no colour is assigned. Hold your finger on the circle/colour to pop open the colour selector, then drag to adjust. Or, with the colours open, slide your finger to the right to remove the colour from that tag.

You can also tap the Edit button to change the order of tags: since an item can have many tags assigned to it, sometimes Ferrite has to choose which colours are the most important, and it uses this list to decide — you can move important items up, and unimportant ones down.

You can also set where the tag’s colours are shown: in the Library, during editing, or both. If enabled, then:

  • In the Library, the four most important colours will be used, shown as stripes down the left-hand edge of the item.
  • While editing, the most important colour is used to tint the audio clip.

Drag And Drop

Note: Due to iOS limitations, system-wide Drag and Drop is currently only available on iPad.

You’ve always been able to move audio clips around inside your projects using Drag and Drop, and still can. But since iOS 11, Drag and Drop was expanded across the system, allowing you to drag many kinds of things, not just within an app, but from one app to another. Ferrite Drag and Drop features include:

Library (Drop)

  • You can drop files — audio, project archives, etc — into the Library to import them into Ferrite. If you drop several at once, they will all be selected, ready to create a new project from them.
  • You can drop an image onto a project to set it as cover art.

Library (Drag)

  • All types of Library item — audio, projects and archives — can be dragged out to another app, to save/export them there.
  • Archives are always copied as .zip files.
  • In the free version of Ferrite (or if you haven’t changed the settings) audio and projects are copied as Lossy (AAC .m4a) files.
  • In the paid version of Ferrite, audio and projects are copied using the sharing format you have selected in the Settings, as long as the app you’re dropping it in accepts that format. Otherwise, Ferrite will use the highest-quality format accepted by the destination app.

Project Editing

  • You can drop audio into the project editing area to simultaneously import it into your Ferrite Library and insert it into the project.
  • If you tap Import to show the Audio Library, you can also drag audio from the Library straight into the editing area.
  • Drop audio into a track to insert it at a particular spot on that track. If you dragged multiple files, they will be inserted one after another.
  • Drop audio into the area below the tracks to create a new track for the audio. If you dragged multiple files, they will either get a track each, or they can be pushed together onto one track, by dragging them close to the existing tracks.
  • You can drop a project into another project (but not into itself). Whenever you do this, the dragged project is “bounced” to a new audio file in your Library (in your chosen Sharing Format), and that audio file will be included in the target project.

Project Info

  • You can drop text, links and images into the appropriate sections of the Project Info view.

MP3 Chapters

  • You can create a new chapter — or update an existing one — by dropping text, links or images onto the Time Bar along the top of the screen.
  • You can also update a chapter in the Chapter List by dropping text, links or images onto it.
  • You can also drop text, links or images into the appropriate sections of the Chapter Details view.

Accessibility: VoiceOver

Note: Accessibility features have changed in Ferrite 2. Navigating around tracks should now be faster and easier.

Ferrite has extensive support for VoiceOver, Apple’s technology for asssisting users by speaking the screen contents out loud.

Much of the application, including the Library, recording, importing, exporting, project info and audio info screens, work pretty much the same way as the non-VoiceOver interface, but using the standard VoiceOver gestures to navigate, activate and cancel but with the same structure and features.

A small change in the Library is that audio, projects etc. do not use the toolbar when VoiceOver is active. Instead, after selecting an item, you can swipe up or down to pick a toolbar command (Edit, Info, Share, Delete), then double-tap to activate it.

The Editing screen is the most complex part of the application, and this is where the majority of the differences are in the VoiceOver interface. The same screen elements are used, but with VoiceOver adaptations. Here’s a list of the elements you’ll find in the VoiceOver interface, in the order they appear, along with how they have been adapted:

  1. The Ruler: Speaks the time range that is currently on-screen. Swiping up or down zooms the time range in or out. When you adjust other elements (e.g. the Play Head, or moving, fading or cropping audio clips), the rate of adjustment depends on the zoom level: the more zoomed you are, the finer control you will have, while if you are zoomed out, then you can make larger changes more quickly.
  2. The Play Head: Speaks the current time where playback will resume. With VoiceOver, this is also used as the time at which many editing commands are carried out. Swiping up or down adjusts the time. Double-tap to jump to a specific time by dialing in the hours, minutes, seconds and hundredths of a second.
  3. The Selection (optional): If you have any audio clips selected, then the next item represents the selection as a whole. Double tap to open the standard selection menu with Cut, Copy, Delete etc. Or swipe up or down to select additional commands, allowing you to move the selection earlier or later in the timeline, or clear (deselect) the selection.
  4. Next, each track is listed in turn. If you have automation tracks, they will also be in this list, placed after the audio track they belong to.
  5. Audio Tracks speak their position in the list, the number of clips that are currently on-screen, and the total number of clips on that audio track. They also mention if they are soloed or muted. Audio Tracks can have a lot of items on them, so you can use the “Tracks” Rotor to skip directly to the start of each track.
  6. Audio Track Items:
  7. The Track Tools button: Opens the standard menu of commands for the track.
  8. Volume and Pan controls: These can be adjusted by swiping up or down. They will not be available if they have been automated — in this case, use the Automation Track to control them instead.
  9. Edit Point: Opens a menu of commands that apply to this track at the Play Head position, for example, splitting an audio clip into two parts. The commands available depend on context, for example, if the Play Head is not positioned inside an audio clip, you won’t be able to split.
  10. Audio Clips: The rest of the track consists of the Audio Clips contained within the screen range, as described by the ruler. Double tap to add or remove a clip from the selection. Swipe up or down to choose a command to apply to the clip. Most commands require the clip to be selected first. Audio Clip editing is described in more detail below.

Automation Tracks: Automation Tracks speak the track and parameter they control, along with the number of Control Points currently on-screen. Next, there will be an item to insert a new Control Point into the track. This creates a new Control Point at the Play Head position, so it only appears if the Play Head is on-screen and not already pointing at a Control Point. Finally, there will be the on-screen control points.

Swiping up or down adjusts the Control Point’s value. Double-tap, and instead, swiping up and down will select different commands. You can delete the Point (as long as it isn’t the last one on the track — a track must always have at least one Control Point), return to editing its value, or edit its time, swiping to nudge it along the timeline.

Final Mix: Placed below all the audio tracks. Double-tap to open the Final Mix menu. Final Mix Automation tracks will be placed after it, these work the same way as other automation tracks. If you’re editing a template this menu will be renamed Template to match, but it works the same way.

At the end are the standard button commands: Add New Track, Import Audio, and the toolbar buttons.

Editing Audio Clips with VoiceOver

When you have an audio clip selected, and focused by VoiceOver, you can swipe up or down to select an action: Move, Crop Start, Crop End, Fade In, Fade Out, and Menu.

Double-tap to activate a command. In the case of Menu, this opens the regular editing menu. The others are special.

When you select Move, Crop Start, Crop End, Fade In, or Fade Out, they will also speak the relevant information: the duration of the fade in or out, the amount of cropping applied to the beginning or end, or the position of the clip on the timeline. Double-tap to put the clip into the selected editing mode. Double-tap again to return to the list of commands. When an editing mode is selected, swipe up or down to adjust the amount of cropping or fading, or to move the selection.

Input Level Monitoring with VoiceOver

You can enable audio feedback on the current recording levels, providing you have headphones connected (otherwise the feedback could itself be picked up by the microphone). Activate the input source (e.g. iPad Microphone) to toggle this feature on or off.

When enabled, if your recording level is too high and the recording gets clipped, a half-second chime will sound at 880hz (an A in octave 5). For other levels, short tones will sound in different octaves, representing different decibel ranges: -3dB to 0dB is 440hz, -6dB to -3dB is 220hz, -9dB to -6dB is 110hz. Below that, no tone is sounded. The feedback only plays when the level crosses the threshold, not continuously. You can also use up/down swipe gestures to select Clipping Only mode, which only plays feedback when audio clips, not when other thresholds are crossed. And of course, you can simply enable headphone monitoring and listen to the audio yourself if you prefer!

Other VoiceOver Editing Features

You can use the “Magic Tap” gesture (a two-finger double-tap) to start or stop playback.

You can also use the “On Pause:” Custom Rotor to change what happens when you stop playback. The default mode, “Stop”, simply stops playback as you would expect. The other mode, “Rewind” will reset the Play Head to the position it was at, before you started playing audio. This can be useful if you started playback so you could hear where the Play Head was positioned, and want it to go back there.

If you have a Bluetooth keyboard attached, you can also use the ⌥ alt   Space Bar shortcut to pause-and-rewind. More on keyboard shortcuts is available in the chapter Shortcuts, Gestures and Keyboard Commands .

VoiceOver Settings

You can slightly customise the way Ferrite speaks times and durations. Normally, it adjusts the amount of detail according to the zoom level, to match the amount of detail you can edit at that zoom level. For example, when zoomed out to a range of one hour, it doesn’t normally bother announcing the number of seconds and milliseconds. However, if you prefer to always have times spoken in full, you can enable this in the Settings. Then, Ferrite will read down to the millisecond level regardless of zoom. It will still skip unnecessary parts, for example, if your project is only 15 minutes long, it will not prefix every timestamp with “zero hours”, or if you line something up exactly at the start of a minute, it will not speak “zero seconds zero milliseconds”.

Shortcuts, Gestures and Keyboard Commands

Ferrite is optimised for multitouch control (and you can enable and customise additional editing gestures too), but you can also enable an on-screen Shortcut Bar that provides quick access to editing commands.

If you have an external keyboard connected, many commands are also available as keyboard shortcuts.

Note: These are the default keyboard shortcuts. If you are using a paid version of Ferrite, you can pick alternative schemes — these are designed to be familiar to users of popular desktop audio editing apps, where possible (other apps may not support the same features as Ferrite, or their keys may not be available on all keyboards, so these schemes are approximations).

You can also customise a scheme by tapping a command in the list, then pressing the key combination you want to use. Some key combinations are reserved by iOS for its own use, so you may not be able to use them.

To change or customise the scheme, or see a complete list of the keys for each scheme, visit the Settings and pick “Keyboard Shortcuts”.

Library

↑   ↓

Select previous/next item in the Library

⌘ cmd   A

Show All items in the Library, if some have been hidden

⌘ cmd   Delete

Delete the selected item

⌘ cmd   E

Share (Export) the selected item

⌘ cmd   F

Select the Search text box (Find)

⌘ cmd   ⌥ alt   F

Show the Filter menu

⌘ cmd   I

Show Info for the selected item

⌘ cmd   ⌥ alt   I

Import Audio

⌘ cmd   N

Create a new episode from a Template

⌘ cmd   O

Edit (Open) the selected item

⌘ cmd   R

Start/stop recording

⌘ cmd   S

Enter/leave Select mode

⌘ cmd   T

Show the Tools Menu

⌘ cmd   U

Unpack a selected archive

←

→

Rewind/Fast Forward a short distance — the amount depends on how zoomed in you are

⌥ alt   ←

⌥ alt   →

Step the Play Head backwards/forwards by the smallest amount visible (for the current zoom)

⌘ cmd   ←

⌘ cmd   →

Jump the Play Head backwards/forwards to the next audio clip or bookmark, the same as the Rewind/Fast Forward buttons on the toolbar

⌘ cmd   ⌥ alt   ←

⌘ cmd   ⌥ alt   →

Jump the Play Head to the beginning or end of the project

⌘ cmd   J

Jump the Play Head to a specific time

Enter

Zoom in on the selection

⌘ cmd   Enter

Zoom out to the project’s duration

+

Zoom in on the Play Head by one step

−

Zoom out from the Play Head by one step

Tab

Jump to the Play Head

Space

⌥ alt   Space

Play/pause

Holding Alt when pausing will return the Play Head to its previous position

Editing Projects

⌘ cmd   S

Close the project and return to the Library

⌘ cmd   I

Pop open the Library to import audio into the project

⌘ cmd   Z

⌘ cmd   ⇧ shift   Z

Undo/Redo

⌘ cmd   ⌥ alt   Z

Enter/Leave History

⌘ cmd   A

Select All audio clips

⌘ cmd   D

Deselect All audio clips

⌘ cmd   F

Select All audio clips following the currently-selected one, on all tracks

⌘ cmd   ⌥ alt   F

Select All audio clips following the currently-selected one, same track only

Toggle automation nodes in or out of the selection

⌘ cmd   T

Split the selected audio clips at the Play Head position

⌘ cmd   X

Cut the selection to the pasteboard

⌘ cmd   C

Copy the selection to the pasteboard

/

Move the selection to start at the Play Head position

⇧ shift   ←

⇧ shift   →

Move the selected audio clips a short distance

⇧ shift   ⌥ alt   ←

⇧ shift   ⌥ alt   →

Move the selected audio clips by the smallest amount visible (for the current zoom)

[   ]

Crop the beginning ( [ ) or end ( ] ) of the selected audio to the Play Head. If the Play Head is outside the selection, it will instead get uncropped, either to the Play Head, or until reaching the original start/end of the audio, whichever comes first.

⌥ alt   [

⌥ alt   ]

Ripple Delete from the beginning ( [ ) or end ( ] ) of the selected audio to the Play Head.

⌘ cmd   ⇧ shift   X

Crop any audio clips that overlap the selection (removing crossfades)

⌘ cmd   E

Open the Selection “Share…” menu (Export Selection)

⌘ cmd   ⇧ shift   E

Share all the selected clips as a single audio file

⌘ cmd   ⇧ shift   ⌥ alt   E

Export all the selected clips as separate files

The Shortcut Bar

The Shortcut Bar provides quick access to common commands. These commands are all available in other ways, so the Shortcut Bar is switched off by default, but you can enable it from the Settings , or by tapping the Time Display and enabling it from the pop-up menu there.

From the Time Display options menu, you can also customise the Shortcut Bar. This opens a panel containing all the Shortcut Bar commands, and you can drag the ones you want into the Shortcut Bar, or drag ones you don’t want out of the bar. The bar has three areas you can drop commands onto, allowing you to group commands on the left, in the centre, or on the right, in the order you prefer.

Editing Gestures

If you like, you can enable some shortcut gestures in the Settings to speed up editing, based around using two fingers at a time on the screen. When enabled, you can:

Tap with Two Fingers

You can choose what this does:

  • Start playing/pause playback
  • Zoom in to selection/zoom out to entire project

Drag from Left to Right with Two Fingers

Drag out a selection range. All the audio clips inside the range will be selected. The selection isn’t emptied first, so you can repeat the gesture to add more clips from another location. Or tap on the background first to clear the selection, if that’s what you need.

Drag from Right to Left with Two Fingers

Drag out a selection range to be immediately deleted. After the audio clips inside the range are removed, you’ll be given the chance to Ripple the delete as usual (unless you’ve disabled Ripple in the Settings .

If you forget the gestures, just place two fingers on the screen. A circular pop-up menu will appear, centred on your fingers — as you slide your fingers left or right, Select or Delete mode will be activated as you pass over the appropriate icon, and you can just keep on sliding your fingers to drag out the time range.

In all cases, your fingers need to be fairly close together and move together — at least at first — so that you don’t zoom in or out instead.

Audio Snapping Selections

If you two-finger drag to select or delete, but the entire range is inside one audio clip, Ferrite will “snap” your selection to the edges of the sound. So for example, if you drag across a sentence, it will “shrink to fit” neatly around the sentence, cut the audio at both edges, and select or delete that sentence. Drag inside the sentence, and it will expand to select all of it. To avoid confusion, the amount of detail Ferrite will consider when snapping, depends on how zoomed in you are — it will ignore gaps in the sound too small for you to see, so you can use the zoom level to control the behaviour.

Apple Pencil™

If you have an Apple Pencil paired with your device, you can use it for editing. Normally, the Pencil is treated exactly the same as a finger, so you can use Pencil or fingers and switch between them as you wish.

Ferrite also has a custom Pencil Editing mode — you can find this in the Gestures & Pencil section of the Settings . When you switch this on, the Pencil is used for editing — slicing, moving, cropping and fading audio — while fingers are used for zooming in and out, and moving your viewpoint around the project.

Note: This setting only affects how audio clip editing and automation editing work. It does not affect other aspects of the user interface, such as buttons, dials, and lists — you can still use your fingers and your Pencil interchangeably outside of the audio editing area.

If your Pencil becomes unpaired, or if you haven’t used it recently, Ferrite will temporarily ignore this setting, allowing you to use fingers to edit as normal. The next time you tap the screen with the Pencil, your Pencil preferences are automatically restored.

With Pencil Editing on, you can also enable some gestures that can help speed up editing. These work similarly to the Two Finger Editing Gestures : you can enable swiping across audio with the Pencil to select or delete multiple clips, or to pick out time ranges within a clip. Because the Pencil is much more precise than using two fingers on the screen, edits using the Pencil don’t snap to audio, they slice exactly where you place the pencil tip.

If you only enable one of the gestures, it doesn’t matter which direction you swipe, your chosen action will be performed.

If you enable both Select and Delete gestures, you swipe from left-to-right to select things, and swipe from right-to-left to delete things.

Apple Pencil Double-Tap

Newer models of Apple Pencil support double-tapping on the side of the pencil to trigger a shortcut. If you have one of these Pencils, and have enabled the gesture in the system settings, you can set the action you want Ferrite to perform:

Zoom

Toggles between zooming in to the current selection, or zooming out to the entire document.

Play / Pause

Starts or stops playback.

Pencil / Finger

Toggles Pencil Editing on or off — in other words, switches between the Pencil using the special Pencil-editing gestures, or behaving the same way finger-touches do.

Custom

You can pick any keyboard shortcut

You can also switch this off if you don’t want Pencil double-taps to do anything in Ferrite.

Settings

  • Settings marked Pro are only available to customers who have purchased the Ferrite 2 Pro upgrade

Some settings are only available if you are using iOS 13/iPad OS 13 or later.

Recording Settings

Recording Format

Sets how Ferrite stores the recordings you make. See the section on Compression and Sharing for more information about this.

Stopping Recording

You can choose how Ferrite behaves when you tap to stop recording. Normally, your recording is immediately added to the Library. You can choose instead for the recording to be paused. You can then continue recording by tapping the record button again, and repeat this as often as you like.

Each time you continue, a Bookmark is added to the recording where you resumed. When your recording is finally complete, you can tap the “checkmark” (iOS 12) or “Save” (iOS 13) button to confirm that you’re done, and the recording is added to your Library.

Large Recording Level Control Pro

Most of the time, you want to set the input level before you start a recording, and leave it where it is for the duration. However, some people prefer to “ride the levels” — continuously adjust the input level during a recording, usually with headphones on to monitor the results. If this is how you roll, enabling this will add a large slider to the screen during recordings, for controlling the recording level. You can place it on either side of the screen. Note: if you’re recording through a device that doesn’t support input gain control, this slider will not appear.

Layout (iPad Only) Pro

When you start a recording, the recording controls usually take over the whole screen (“Full Screen” mode). If you prefer, you can select “Compact” mode, which leaves the rest of the screen available for use. “Automatic” switches between Full Screen and Compact depending on which window you are in: the window that started the recording uses Full Screen mode, but if you open additional windows, they will use Compact mode.

Headphone Monitoring Pro

When using headphones to monitor during a recording, Ferrite normally reproduces stereo audio the same way it would be played back, with the left channel in the left ear, and the right channel in the right ear. For stereo recordings, this is what you want, but if you’re recording two mono mics (for example, one for the host, one for a guest), it can be distracting to have one voice in each ear.

Select “Mono” and when you monitor stereo recordings, they will be mixed down to mono before being sent to the headphones (the recording itself would still be stereo, unaffected by this setting). Select “Stereo (Reduced)” to play in stereo, but with the panning moved in towards the centre for a more natural sound, where you can still hear the stereo separation but it isn’t as extreme. Select “Stereo (Full)” to return to normal operation.

Tip: You can quickly access this setting from the recording screen by holding down the headphones monitoring button.

Allow Channels To Be Switched Off Pro

If you want to be able to permanently omit channels from a recording, switch this on. See the Pro Recording section for information on using this feature.

Calibration Pro

This changes the way the recording level meters work. In “Classic” mode, they display linear dB meters peaking at 0 db. In “Non-Linear” mode, the display is adjusted slightly to provide more detail in the “sweet spot” between -3 dB and -6 dB.

Editing Settings

Ripple Insert / Delete

If you never want Ferrite to ask you if you want to Ripple Insert And Delete , you can switch off that feature here.

Overlapping Audio

When two pieces of audio are overlapped on a track, Ferrite will crossfade between them. If you prefer, you can change this so that Ferrite will crop the audio underneath, so that the piece you are moving “replaces” the audio you drop it onto.

After Splitting Audio

When you have audio selected, and split it in two (either using the menu or gesture), the pieces normally all stay selected. If you prefer, you can change this to clear the selection, or keep selected only the pieces before the split, or after the split. Depending on how you prefer to edit audio, this can speed up your editing.

Note: Ferrite will do the crop in two steps, first moving and crossfading as normal, then applying the crop. In this way, if you mostly want to crop, but occasionally need a crossfade, you can simply tap Undo once after the crop to restore the fade. Also, if you have two pieces of audio that are already crossfaded, if you select them both and move them together, Ferrite will preserve the fade.

Allow Volume to Go Over Maximum

The volume controls on tracks are normally limited to the range 0% → 100% (-∞ dB → 0 dB), where the maximum is the original recorded audio at its loudest without clipping. If you enable this setting, you can “overdrive” the track gain, so you can make the audio louder than it originally was.

However, where the audio was already at maximum volume, you’ll have now driven it past the maximum and this will be clipped. This can sound really bad, which is why the option is off by default. The “danger area” of the dial is marked in red; you can go right up to the edge of this area safely (the dial will “click into place” at the maximum safe level) without fear of clipping, but if you go into this area, you may clip.

You can avoid the clipping if you’ve cut out the loud parts of the audio, or faded them, or applied some other effect to reduce the volume — so you can enable this setting if you know what you’re doing!

Automation

Opens the panel for customising how automation is edited described below

Show Shortcut Bar

Lets you switch the customisable Shortcut Bar on or off.

Keyboard Shortcuts

Lets you view and edit the current set of Keyboard Shortcuts including searching, switching to alternate schemes, or customising your own scheme.

Gestures, Pencil

& 3D Touch

Gestures (or Gestures and Pencil)

Opens the panel for configuring gestures and (where supported) 3D Touch and Apple Pencil.

Two Finger Gestures

These optional shortcut gestures are described in the Editing Gestures section of the Shortcuts, Gestures and Keyboard Commands chapter of the guide. Tap to configure the gestures you want to use.

3D Touch

Only available on devices that support 3D Touch, these settings enable you to turn off some or all of Ferrite’s 3D Touch responses, if you find yourself triggering them by accident:

Use to Prevent Snapping

When dragging an audio clip, if Ferrite snaps your changes to a neighbouring clip, and you’re trying to make fine edits, you can press more firmly to disable this feature. It will stay disabled until you let go of the clip, or move it away from the position it’s snapping to. (On devices without 3D Touch, you can instead zoom in using the usual Pinch To Zoom gestures to get finer control).

Use for Shortcuts

In various places in Ferrite there are buttons which have extra features if held down for a while. Usually the command is “the same, only more”. For example, tapping Rewind moves the Play Head back one clip, holding it moves the Play Head all the way to the start. With 3D Touch you can activate the secondary command by pressing the button firmly.

Pencil Editing

Only available when an Apple Pencil is paired, this allows you to switch custom Apple Pencil support on or off, and customise additional Pencil editing gestures.

Other Settings

Sharing Format Pro

This sets how Ferrite shared audio with other apps. See the section on Compression and Sharing for more information about this.

Tags & Colours Pro

Allows you to assign colours to tags, and control where those colours appear. See the Tagging chapter for more details.

Automation Settings

Pro

Here, you can set whether Automation uses continuous curves or straight lines.

You can also customise whether automation Control Points are included when you perform certain editing actions on the audio clips they’re lined up with:

Automatically Select

Controls whether automation gets included when you use commands like Select All On Track or Select All Following to select multiple pieces of audio at once. Note: this setting doesn’t affect what happens when you just tap on a single piece of audio to select it.

Drag Select/Delete With Audio

Controls whether automation gets included when you use either the Apple Pencil™ or Two Finger Editing Gestures to select or delete audio clips, and then extend the drag across automation tracks as well.

Note: Even when this is switched off, you can still drag to select/delete automation, providing you start dragging from the automation track itself, instead of an audio track.

Include in Ripple Insert/Delete

Controls whether automation gets moved when you Ripple an insert or delete on an audio track.

All these settings have three options:

Never

Switches them off entirely.

When Shown

Switches them on or off to match the current Show Automation setting.

Always

Affects automation even when it’s hidden.

Bluetooth

When you pair Bluetooth speakers or headphones with your device, they can use several different methods to send audio back and forth. Some methods offer good audio quality, but don’t support microphone input. Others support microphone input, but are designed for telephone calls only, so the quality is poor.Ferrite is an app for both recording and playback, but since Bluetooth on iOS doesn’t support high-quality audio and microphone input at the same time, there are some things you need to be aware of if you want to use it.

Latency

The first thing to note is that there can be a small delay (“latency”) while your device converts the audio into a format that Bluetooth headphones/speakers can understand, transmits it wirelessly to them, and then they decode it again. The amount of delay can depend on the kind of headphones/speakers you are using, and applies to all audio, from any app on your device.

When you’re just listening to music, it isn’t that noticeable since it’s typically just when you start/stop listening that you might experience a small delay. But it can be more annoying while editing, because you are likely to be jumping around a lot and needing to make fine adjustments. Unfortunately this is another problem of the Bluetooth standard outside of our control.

If you wish to use Bluetooth anyway, please read on:

As long as your speakers/headphones support the high-quality “A2DP” Bluetooth standard, you can use them with Ferrite for listening only. You don’t need to set any options in Ferrite, they should just work.

You won’t be able to record from them — even if they have a microphone. But you can record through another microphone, such as one connected via wires such as USB or Lightning.

Audio Unit Extensions

Note: This feature requires a compatible device, and is still “experimental”. We’re releasing it so that the developers of Audio Unit Extensions can test their extensions for compatibility with Ferrite. If you find it useful, please go ahead and use it, but be aware that there are some known issues.

On compatible devices, when you open the Effects list, in either the Track menu or the Final Mix menu, you will see more than just the effects built in to Ferrite, you will also see “Audio Units” and “Audio Unit Extensions”.

Audio Units are similar to the built-in effects, but they are supplied by iOS itself. Audio Unit Extensions are supplied by other apps on your device. When you install compatible apps, their Audio Unit Extensions will appear in the Effect list in Ferrite, extending its power. If you remove those apps, the Extensions will also be removed from Ferrite.

Because these other apps are not made by Wooji Juice and may not even have been written when Ferrite was released, we can’t guarantee compatibility. When you add one to a track or the Final Mix, then tap on it to open the controls, the controls that appear are supplied by the Audio Unit Extension, not Ferrite. You should check the app that the Extension came from (or the website of that app’s developer) for instructions on how to use them.

Audio Unit Extensions mostly work the same way as built-in effects. You can add them to tracks and the Final Mix, adjust their settings, undo changes that you don’t like, and even automate their settings (providing the developer of the Audio Unit Extension hasn’t disabled this).

Known Issues with Audio Unit Extensions:

  • When you open an Audio Unit Extension’s settings panel and make changes, although you will hear the changes in the sound right away, those changes won’t get passed back to Ferrite until you tap Done. This means that the changes won’t be saved until that time, and Undo/Redo will apply to all changes made while the panel was open. This is due to a limitation of the Audio Unit Extension system in iOS.
  • For the same reason, you can’t live-record automation using the Audio Unit Extension’s own controls. You can live-record automation using the dial supplied by Ferrite in the sidebar of the automation track, however.
  • Changes made using automation may not show up in the Audio Unit Extension’s controls. This is due to a bug in the iOS Audio Unit Extension system which we hope Apple will fix.
  • Some Audio Unit Extensions have presets. If you select a preset, you will hear the changes, but they may not show up in the controls. Again, this is due to a bug in the iOS Audio Unit Extension system. Preset changes should get saved, though, and support Undo/Redo.

What’s New in Ferrite 2

Just updated to Ferrite 2? Welcome! We’ve cleaned and polished lots of things, but you can find them in the same places as before, so you should feel right at home.

If you bought the Ferrite 1 Pro upgrade, don’t worry — it still works with Ferrite 2, with all the features you paid for. If you’d like to upgrade to Ferrite 2 Pro, there are a bunch of new features: Multichannel Recording, Preproduction, Channels, Templates, the Equaliser, and improvements to Presets. Accessibility is also improved, and there are some other smaller improvements too.

New: Multichannel Recording

(Multichannel recording requires iOS 13 or later.)

Ferrite 2.4 supports recording up to 8 channels at once. You can also switch off channels you don’t need, and change the way stereo and multichannel recordings are monitored through headphones.

New: Preproduction and Channels

Ferrite 2 introduces a new suite of tools for getting audio ready before you start using it in a project. Preproduction can be found in the Audio Info panel for an audio file.

Preproduction tools include:

Channel Selection

Ferrite 1 supported mono or stereo audio files. Ferrite 2 Pro can also read tracks with three or more channels. Since podcasts and radio are themselves still only mono or stereo, Ferrite will use up to two channels at a time. But you can now pick which ones, allowing you to switch off unwanted channels, swap left and right channels, and so on.

Channel Splitting

Additional channels can be split out into new files, so if you have (for example) a 4-channel audio file, each representing a different person’s mic, you can use Channel Selection to pick the one to use for that Audio Library item, and split the other three out into new audio files, allowing all four to be independently edited in a project.

Auto Levelling

Ferrite 1 supported Auto Levelling of projects during export. In Ferrite 2 Pro this is also available in Preproduction, to smooth out a recording’s levels before you begin editing.

Noise Reduction

Automatically analyses a recording to attempt to find and eliminate background noise. Not all noise can be removed, but background noise like the “hiss” commonly found in recordings can often be reduced.

Read more about Channel Selection and Splitting or Preproduction

New: Templates

Project Templates speed up your work by automating some repetitive tasks. When you’re working on a project that’s part of a podcast or regular series, you’ll often add the same theme tune, dial in the same settings, fill in the same project details, and so on. Templates take care of this for you.

Templates start with an example project — for example, the most recent episode of your podcast. You can then turn it into a Template, and remove any elements that don’t belong (e.g. the conversation from that podcast), keeping the stuff that’s consistent from episode to episode (cover art, theme tune, etc).

You can set up Placeholders, so that the title, show notes, links, etc can have the date, episode number and certain other details automatically filled in for each episode. With a tap on the Template, a new blank episode can be put together — with everything set up, ready to go. You can also optionally pick some audio files to be included in the new project.

Read more about Templates

Enhanced: Presets

In Ferrite 1 Pro, you can save your preferred settings for tools like Strip Silence or Ducking into a library and recall them later. Ferrite 2 Pro adds several enhancements:

  • Presets can be stored in Templates for easy access within any project made from that template.
  • Or you can store Presets in iCloud, so they will sync between devices.
  • Or if you store Presets on your device, they’ll now appear in the Documents folder in iTunes for easy backup.
  • You can now rename your Presets, and move them from place to place (on your device, in iCloud, inside a Template).
  • And more features now support Presets, including Chapters and many third-party Audio Unit Extension (AUX) effects.

New: Equaliser

Ferrite 2 Pro includes a new built-in effect, the Equaliser. This is a powerful multi-band (up to 8) fully customisable EQ unit, supporting visual editing, automation, and a live graphic visualiser during playback.

Read more about the Equaliser

Other Improvements

Projects can now have an export filename. We can’t force other apps to use it, but Ferrite will suggest it when converting projects to audio files and sending them to other apps — it’s particularly useful if you’re sending a file to a cloud storage service, or uploading a finished episode to a podcast host for publication. If you don’t set the export filename, it defaults to the same as in Ferrite 1: using the title of the project.

You can set the export filename for Templates too, and they supports Placeholders, so the filename can be automatically updated with the episode number or air date of an episode.

Both Templates and Projects can also set a custom file format to use when sharing audio. If you don’t set this, it defaults to using the one in the Settings , so you only need to change it if you want a custom format per project, podcast, etc.

Individual MP3 Chapters can now be “hidden” — these are left out of the Table of Contents, but well-behaved podcast players will still display their artwork (and may caption it with the chapter title). Or, if you export your project as a video file, images from the chapter artwork will now be used there too. These tools allow you to create a slideshow to accompany your audio. Chapters can also be included in .WAV files (although this format only supports titles — not links, images or hidden chapters).

VoiceOver Enhancements

Note: These VoiceOver enhancements are available to all VoiceOver users, whether or not they purchase the Ferrite 2 Pro upgrade.

The VoiceOver accessibility interface to Ferrite has been updated to take advantage of new iOS accessibility technologies that weren’t available when Ferrite 1 was created. A track can contain many items, which could take a long time to navigate past. So, in Ferrite 1, tracks could be “folded” or “unfolded” to hide or reveal their items. This allowed you to quickly skip past tracks, but could be confusing and introduce extra steps in the process.

In Ferrite 2, tracks are always “unfolded” to reveal all of their items, but a new “Custom Rotor” allows you to skip from track to track with a single swipe. This should be faster to use as well as easier to understand and navigate.

You can also now change the behaviour when you pause playback, using another Custom Rotor, to choose whether or not to automatically rewind to where playback started.

Read more about VoiceOver Accessibility in Ferrite 2

𝗗𝗮𝘃𝗶𝗱 𝗕𝗹𝘂𝗲



96

Share your support on Product Hunt!

 ‌ ‌ ‌ 

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Introducing GitBook 3.0

[

See the launch on Product Hunt

](http://email.gitbook.com/e/c/eyJlbWFpbF9pZCI6ImRnVDRpUWNEQUpYNlNwVDZTZ0dFUGZkdmh4LV92eUwxRkRWdzRFST0iLCJocmVmIjoiaHR0cHM6Ly93d3cucHJvZHVjdGh1bnQuY29tL3Bvc3RzL2dpdGJvb2stMy0wIiwiaW50ZXJuYWwiOiJmODg5MDcyODk0ZGIwMTk1ZmE0YSIsImxpbmtfaWQiOjE3Nn0/5f2669655be7984dbf886336d31db3900918a07e99c98b3d81660d60c10b3c3c)

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Hi David, 

We’re excited to share that GitBook 3.0 is here—a fresh look for public docs and tons of new integrations! Centralize all your technical knowledge in GitBook and connect it to your codebase with Git Sync. Learn more about GitBook’s vision in this blog announcement[](http://email.gitbook.com/e/c/eyJlbWFpbF9pZCI6ImRnVDRpUWNEQUpYNlNwVDZTZ0dFUGZkdmh4LV92eUwxRkRWdzRFST0iLCJocmVmIjoiaHR0cDovL3d3dy5naXRib29rLmNvbSIsImludGVybmFsIjoiZjg4OTA3Mjg5NGRiMDE5NWZhNGEiLCJsaW5rX2lkIjoxNjN9/0a5c3eba0a0860a55e78714ab0fad01cdc4de850e47986304d0e1a93bf18eb9a) by our founder, Samy Pesse. 

We have a big ask of you today: We’re launching for the first time in __ 6 years on Product Hunt and we’d really appreciate your support—please upvote, comment, and/or share—[](http://email.gitbook.com/e/c/eyJlbWFpbF9pZCI6ImRnVDRpUWNEQUpYNlNwVDZTZ0dFUGZkdmh4LV92eUwxRkRWdzRFST0iLCJocmVmIjoiaHR0cDovL2dpdGJvb2suY29tIiwiaW50ZXJuYWwiOiJmODg5MDcyODk0ZGIwMTk1ZmE0YSIsImxpbmtfaWQiOjE2MX0/5c4c72fccd9a5dc8f005850b6a5e5e721c9ecc2846c27dbf2a193a5fc84db98e)it’ll go a long way.

[

Support us on Product Hunt

](http://email.gitbook.com/e/c/eyJlbWFpbF9pZCI6ImRnVDRpUWNEQUpYNlNwVDZTZ0dFUGZkdmh4LV92eUwxRkRWdzRFST0iLCJocmVmIjoiaHR0cHM6Ly93d3cucHJvZHVjdGh1bnQuY29tL3Bvc3RzL2dpdGJvb2stMy0wIiwiaW50ZXJuYWwiOiJmODg5MDcyODk0ZGIwMTk1ZmE0YSIsImxpbmtfaWQiOjE3Nn0/5f2669655be7984dbf886336d31db3900918a07e99c98b3d81660d60c10b3c3c)

 

Thank you for being a part of GitBook’s journey and helping shape the product into what it is today. We wouldn’t be here without you.

Onwards,
The GitBook team

 

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