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+About this manual
+=================
+
+**Copyright © 2011-2015 Sourcefabric z.ú.
+**
+
+This manual was written for Sourcefabric by Daniel James, using Booktype Pro. Please add your comments and contributions at: [http://sourcefabric.booktype.pro/airtime-pro-for-broadcasters/](../index.html "Airtime Pro for Broadcasters")
+
+License
+-------
+
+All chapters in this manual are licensed with the **GNU General Public License version 3**.
+
+This documentation is free documentation; you can redistribute it and/or modify it under the terms of the GNU General Public License as published by the Free Software Foundation, version 3.
+
+This documentation is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU General Public License for more details.
+
+You should have received a copy of the GNU General Public License along with this documentation; if not, write to the Free Software Foundation, Inc., 51 Franklin Street, Fifth Floor, Boston, MA 02110-1301, USA.
+
+
+
+
+
+### GNU GENERAL PUBLIC LICENSE
+
+Version 3, 29 June 2007
+
+Copyright © 2007 Free Software Foundation, Inc. <>
+
+Everyone is permitted to copy and distribute verbatim copies of this license document, but changing it is not allowed.
+
+### Preamble
+
+The GNU General Public License is a free, copyleft license for software and other kinds of works.
+
+The licenses for most software and other practical works are designed to take away your freedom to share and change the works. By contrast, the GNU General Public License is intended to guarantee your freedom to share and change all versions of a program--to make sure it remains free software for all its users. We, the Free Software Foundation, use the GNU General Public License for most of our software; it applies also to any other work released this way by its authors. You can apply it to your programs, too.
+
+When we speak of free software, we are referring to freedom, not price. Our General Public Licenses are designed to make sure that you have the freedom to distribute copies of free software (and charge for them if you wish), that you receive source code or can get it if you want it, that you can change the software or use pieces of it in new free programs, and that you know you can do these things.
+
+To protect your rights, we need to prevent others from denying you these rights or asking you to surrender the rights. Therefore, you have certain responsibilities if you distribute copies of the software, or if you modify it: responsibilities to respect the freedom of others.
+
+For example, if you distribute copies of such a program, whether gratis or for a fee, you must pass on to the recipients the same freedoms that you received. You must make sure that they, too, receive or can get the source code. And you must show them these terms so they know their rights.
+
+Developers that use the GNU GPL protect your rights with two steps: (1) assert copyright on the software, and (2) offer you this License giving you legal permission to copy, distribute and/or modify it.
+
+For the developers' and authors' protection, the GPL clearly explains that there is no warranty for this free software. For both users' and authors' sake, the GPL requires that modified versions be marked as changed, so that their problems will not be attributed erroneously to authors of previous versions.
+
+Some devices are designed to deny users access to install or run modified versions of the software inside them, although the manufacturer can do so. This is fundamentally incompatible with the aim of protecting users' freedom to change the software. The systematic pattern of such abuse occurs in the area of products for individuals to use, which is precisely where it is most unacceptable. Therefore, we have designed this version of the GPL to prohibit the practice for those products. If such problems arise substantially in other domains, we stand ready to extend this provision to those domains in future versions of the GPL, as needed to protect the freedom of users.
+
+Finally, every program is threatened constantly by software patents. States should not allow patents to restrict development and use of software on general-purpose computers, but in those that do, we wish to avoid the special danger that patents applied to a free program could make it effectively proprietary. To prevent this, the GPL assures that patents cannot be used to render the program non-free.
+
+The precise terms and conditions for copying, distribution and modification follow.
+
+### TERMS AND CONDITIONS
+
+#### 0. Definitions.
+
+“This License” refers to version 3 of the GNU General Public License.
+
+“Copyright” also means copyright-like laws that apply to other kinds of works, such as semiconductor masks.
+
+“The Program” refers to any copyrightable work licensed under this License. Each licensee is addressed as “you”. “Licensees” and “recipients” may be individuals or organizations.
+
+To “modify” a work means to copy from or adapt all or part of the work in a fashion requiring copyright permission, other than the making of an exact copy. The resulting work is called a “modified version” of the earlier work or a work “based on” the earlier work.
+
+A “covered work” means either the unmodified Program or a work based on the Program.
+
+To “propagate” a work means to do anything with it that, without permission, would make you directly or secondarily liable for infringement under applicable copyright law, except executing it on a computer or modifying a private copy. Propagation includes copying, distribution (with or without modification), making available to the public, and in some countries other activities as well.
+
+To “convey” a work means any kind of propagation that enables other parties to make or receive copies. Mere interaction with a user through a computer network, with no transfer of a copy, is not conveying.
+
+An interactive user interface displays “Appropriate Legal Notices” to the extent that it includes a convenient and prominently visible feature that (1) displays an appropriate copyright notice, and (2) tells the user that there is no warranty for the work (except to the extent that warranties are provided), that licensees may convey the work under this License, and how to view a copy of this License. If the interface presents a list of user commands or options, such as a menu, a prominent item in the list meets this criterion.
+
+#### 1. Source Code.
+
+The “source code” for a work means the preferred form of the work for making modifications to it. “Object code” means any non-source form of a work.
+
+A “Standard Interface” means an interface that either is an official standard defined by a recognized standards body, or, in the case of interfaces specified for a particular programming language, one that is widely used among developers working in that language.
+
+The “System Libraries” of an executable work include anything, other than the work as a whole, that (a) is included in the normal form of packaging a Major Component, but which is not part of that Major Component, and (b) serves only to enable use of the work with that Major Component, or to implement a Standard Interface for which an implementation is available to the public in source code form. A “Major Component”, in this context, means a major essential component (kernel, window system, and so on) of the specific operating system (if any) on which the executable work runs, or a compiler used to produce the work, or an object code interpreter used to run it.
+
+The “Corresponding Source” for a work in object code form means all the source code needed to generate, install, and (for an executable work) run the object code and to modify the work, including scripts to control those activities. However, it does not include the work's System Libraries, or general-purpose tools or generally available free programs which are used unmodified in performing those activities but which are not part of the work. For example, Corresponding Source includes interface definition files associated with source files for the work, and the source code for shared libraries and dynamically linked subprograms that the work is specifically designed to require, such as by intimate data communication or control flow between those subprograms and other parts of the work.
+
+The Corresponding Source need not include anything that users can regenerate automatically from other parts of the Corresponding Source.
+
+The Corresponding Source for a work in source code form is that same work.
+
+#### 2. Basic Permissions.
+
+All rights granted under this License are granted for the term of copyright on the Program, and are irrevocable provided the stated conditions are met. This License explicitly affirms your unlimited permission to run the unmodified Program. The output from running a covered work is covered by this License only if the output, given its content, constitutes a covered work. This License acknowledges your rights of fair use or other equivalent, as provided by copyright law.
+
+You may make, run and propagate covered works that you do not convey, without conditions so long as your license otherwise remains in force. You may convey covered works to others for the sole purpose of having them make modifications exclusively for you, or provide you with facilities for running those works, provided that you comply with the terms of this License in conveying all material for which you do not control copyright. Those thus making or running the covered works for you must do so exclusively on your behalf, under your direction and control, on terms that prohibit them from making any copies of your copyrighted material outside their relationship with you.
+
+Conveying under any other circumstances is permitted solely under the conditions stated below. Sublicensing is not allowed; section 10 makes it unnecessary.
+
+#### 3. Protecting Users' Legal Rights From Anti-Circumvention Law.
+
+No covered work shall be deemed part of an effective technological measure under any applicable law fulfilling obligations under article 11 of the WIPO copyright treaty adopted on 20 December 1996, or similar laws prohibiting or restricting circumvention of such measures.
+
+When you convey a covered work, you waive any legal power to forbid circumvention of technological measures to the extent such circumvention is effected by exercising rights under this License with respect to the covered work, and you disclaim any intention to limit operation or modification of the work as a means of enforcing, against the work's users, your or third parties' legal rights to forbid circumvention of technological measures.
+
+#### 4. Conveying Verbatim Copies.
+
+You may convey verbatim copies of the Program's source code as you receive it, in any medium, provided that you conspicuously and appropriately publish on each copy an appropriate copyright notice; keep intact all notices stating that this License and any non-permissive terms added in accord with section 7 apply to the code; keep intact all notices of the absence of any warranty; and give all recipients a copy of this License along with the Program.
+
+You may charge any price or no price for each copy that you convey, and you may offer support or warranty protection for a fee.
+
+#### 5. Conveying Modified Source Versions.
+
+You may convey a work based on the Program, or the modifications to produce it from the Program, in the form of source code under the terms of section 4, provided that you also meet all of these conditions:
+
+- a) The work must carry prominent notices stating that you modified it, and giving a relevant date.
+- b) The work must carry prominent notices stating that it is released under this License and any conditions added under section 7. This requirement modifies the requirement in section 4 to “keep intact all notices”.
+- c) You must license the entire work, as a whole, under this License to anyone who comes into possession of a copy. This License will therefore apply, along with any applicable section 7 additional terms, to the whole of the work, and all its parts, regardless of how they are packaged. This License gives no permission to license the work in any other way, but it does not invalidate such permission if you have separately received it.
+- d) If the work has interactive user interfaces, each must display Appropriate Legal Notices; however, if the Program has interactive interfaces that do not display Appropriate Legal Notices, your work need not make them do so.
+
+A compilation of a covered work with other separate and independent works, which are not by their nature extensions of the covered work, and which are not combined with it such as to form a larger program, in or on a volume of a storage or distribution medium, is called an “aggregate” if the compilation and its resulting copyright are not used to limit the access or legal rights of the compilation's users beyond what the individual works permit. Inclusion of a covered work in an aggregate does not cause this License to apply to the other parts of the aggregate.
+
+#### 6. Conveying Non-Source Forms.
+
+You may convey a covered work in object code form under the terms of sections 4 and 5, provided that you also convey the machine-readable Corresponding Source under the terms of this License, in one of these ways:
+
+- a) Convey the object code in, or embodied in, a physical product (including a physical distribution medium), accompanied by the Corresponding Source fixed on a durable physical medium customarily used for software interchange.
+- b) Convey the object code in, or embodied in, a physical product (including a physical distribution medium), accompanied by a written offer, valid for at least three years and valid for as long as you offer spare parts or customer support for that product model, to give anyone who possesses the object code either (1) a copy of the Corresponding Source for all the software in the product that is covered by this License, on a durable physical medium customarily used for software interchange, for a price no more than your reasonable cost of physically performing this conveying of source, or (2) access to copy the Corresponding Source from a network server at no charge.
+- c) Convey individual copies of the object code with a copy of the written offer to provide the Corresponding Source. This alternative is allowed only occasionally and noncommercially, and only if you received the object code with such an offer, in accord with subsection 6b.
+- d) Convey the object code by offering access from a designated place (gratis or for a charge), and offer equivalent access to the Corresponding Source in the same way through the same place at no further charge. You need not require recipients to copy the Corresponding Source along with the object code. If the place to copy the object code is a network server, the Corresponding Source may be on a different server (operated by you or a third party) that supports equivalent copying facilities, provided you maintain clear directions next to the object code saying where to find the Corresponding Source. Regardless of what server hosts the Corresponding Source, you remain obligated to ensure that it is available for as long as needed to satisfy these requirements.
+- e) Convey the object code using peer-to-peer transmission, provided you inform other peers where the object code and Corresponding Source of the work are being offered to the general public at no charge under subsection 6d.
+
+A separable portion of the object code, whose source code is excluded from the Corresponding Source as a System Library, need not be included in conveying the object code work.
+
+A “User Product” is either (1) a “consumer product”, which means any tangible personal property which is normally used for personal, family, or household purposes, or (2) anything designed or sold for incorporation into a dwelling. In determining whether a product is a consumer product, doubtful cases shall be resolved in favor of coverage. For a particular product received by a particular user, “normally used” refers to a typical or common use of that class of product, regardless of the status of the particular user or of the way in which the particular user actually uses, or expects or is expected to use, the product. A product is a consumer product regardless of whether the product has substantial commercial, industrial or non-consumer uses, unless such uses represent the only significant mode of use of the product.
+
+“Installation Information” for a User Product means any methods, procedures, authorization keys, or other information required to install and execute modified versions of a covered work in that User Product from a modified version of its Corresponding Source. The information must suffice to ensure that the continued functioning of the modified object code is in no case prevented or interfered with solely because modification has been made.
+
+If you convey an object code work under this section in, or with, or specifically for use in, a User Product, and the conveying occurs as part of a transaction in which the right of possession and use of the User Product is transferred to the recipient in perpetuity or for a fixed term (regardless of how the transaction is characterized), the Corresponding Source conveyed under this section must be accompanied by the Installation Information. But this requirement does not apply if neither you nor any third party retains the ability to install modified object code on the User Product (for example, the work has been installed in ROM).
+
+The requirement to provide Installation Information does not include a requirement to continue to provide support service, warranty, or updates for a work that has been modified or installed by the recipient, or for the User Product in which it has been modified or installed. Access to a network may be denied when the modification itself materially and adversely affects the operation of the network or violates the rules and protocols for communication across the network.
+
+Corresponding Source conveyed, and Installation Information provided, in accord with this section must be in a format that is publicly documented (and with an implementation available to the public in source code form), and must require no special password or key for unpacking, reading or copying.
+
+#### 7. Additional Terms.
+
+“Additional permissions” are terms that supplement the terms of this License by making exceptions from one or more of its conditions. Additional permissions that are applicable to the entire Program shall be treated as though they were included in this License, to the extent that they are valid under applicable law. If additional permissions apply only to part of the Program, that part may be used separately under those permissions, but the entire Program remains governed by this License without regard to the additional permissions.
+
+When you convey a copy of a covered work, you may at your option remove any additional permissions from that copy, or from any part of it. (Additional permissions may be written to require their own removal in certain cases when you modify the work.) You may place additional permissions on material, added by you to a covered work, for which you have or can give appropriate copyright permission.
+
+Notwithstanding any other provision of this License, for material you add to a covered work, you may (if authorized by the copyright holders of that material) supplement the terms of this License with terms:
+
+- a) Disclaiming warranty or limiting liability differently from the terms of sections 15 and 16 of this License; or
+- b) Requiring preservation of specified reasonable legal notices or author attributions in that material or in the Appropriate Legal Notices displayed by works containing it; or
+- c) Prohibiting misrepresentation of the origin of that material, or requiring that modified versions of such material be marked in reasonable ways as different from the original version; or
+- d) Limiting the use for publicity purposes of names of licensors or authors of the material; or
+- e) Declining to grant rights under trademark law for use of some trade names, trademarks, or service marks; or
+- f) Requiring indemnification of licensors and authors of that material by anyone who conveys the material (or modified versions of it) with contractual assumptions of liability to the recipient, for any liability that these contractual assumptions directly impose on those licensors and authors.
+
+All other non-permissive additional terms are considered “further restrictions” within the meaning of section 10. If the Program as you received it, or any part of it, contains a notice stating that it is governed by this License along with a term that is a further restriction, you may remove that term. If a license document contains a further restriction but permits relicensing or conveying under this License, you may add to a covered work material governed by the terms of that license document, provided that the further restriction does not survive such relicensing or conveying.
+
+If you add terms to a covered work in accord with this section, you must place, in the relevant source files, a statement of the additional terms that apply to those files, or a notice indicating where to find the applicable terms.
+
+Additional terms, permissive or non-permissive, may be stated in the form of a separately written license, or stated as exceptions; the above requirements apply either way.
+
+#### 8. Termination.
+
+You may not propagate or modify a covered work except as expressly provided under this License. Any attempt otherwise to propagate or modify it is void, and will automatically terminate your rights under this License (including any patent licenses granted under the third paragraph of section 11).
+
+However, if you cease all violation of this License, then your license from a particular copyright holder is reinstated (a) provisionally, unless and until the copyright holder explicitly and finally terminates your license, and (b) permanently, if the copyright holder fails to notify you of the violation by some reasonable means prior to 60 days after the cessation.
+
+Moreover, your license from a particular copyright holder is reinstated permanently if the copyright holder notifies you of the violation by some reasonable means, this is the first time you have received notice of violation of this License (for any work) from that copyright holder, and you cure the violation prior to 30 days after your receipt of the notice.
+
+Termination of your rights under this section does not terminate the licenses of parties who have received copies or rights from you under this License. If your rights have been terminated and not permanently reinstated, you do not qualify to receive new licenses for the same material under section 10.
+
+#### 9. Acceptance Not Required for Having Copies.
+
+You are not required to accept this License in order to receive or run a copy of the Program. Ancillary propagation of a covered work occurring solely as a consequence of using peer-to-peer transmission to receive a copy likewise does not require acceptance. However, nothing other than this License grants you permission to propagate or modify any covered work. These actions infringe copyright if you do not accept this License. Therefore, by modifying or propagating a covered work, you indicate your acceptance of this License to do so.
+
+#### 10. Automatic Licensing of Downstream Recipients.
+
+Each time you convey a covered work, the recipient automatically receives a license from the original licensors, to run, modify and propagate that work, subject to this License. You are not responsible for enforcing compliance by third parties with this License.
+
+An “entity transaction” is a transaction transferring control of an organization, or substantially all assets of one, or subdividing an organization, or merging organizations. If propagation of a covered work results from an entity transaction, each party to that transaction who receives a copy of the work also receives whatever licenses to the work the party's predecessor in interest had or could give under the previous paragraph, plus a right to possession of the Corresponding Source of the work from the predecessor in interest, if the predecessor has it or can get it with reasonable efforts.
+
+You may not impose any further restrictions on the exercise of the rights granted or affirmed under this License. For example, you may not impose a license fee, royalty, or other charge for exercise of rights granted under this License, and you may not initiate litigation (including a cross-claim or counterclaim in a lawsuit) alleging that any patent claim is infringed by making, using, selling, offering for sale, or importing the Program or any portion of it.
+
+#### 11. Patents.
+
+A “contributor” is a copyright holder who authorizes use under this License of the Program or a work on which the Program is based. The work thus licensed is called the contributor's “contributor version”.
+
+A contributor's “essential patent claims” are all patent claims owned or controlled by the contributor, whether already acquired or hereafter acquired, that would be infringed by some manner, permitted by this License, of making, using, or selling its contributor version, but do not include claims that would be infringed only as a consequence of further modification of the contributor version. For purposes of this definition, “control” includes the right to grant patent sublicenses in a manner consistent with the requirements of this License.
+
+Each contributor grants you a non-exclusive, worldwide, royalty-free patent license under the contributor's essential patent claims, to make, use, sell, offer for sale, import and otherwise run, modify and propagate the contents of its contributor version.
+
+In the following three paragraphs, a “patent license” is any express agreement or commitment, however denominated, not to enforce a patent (such as an express permission to practice a patent or covenant not to sue for patent infringement). To “grant” such a patent license to a party means to make such an agreement or commitment not to enforce a patent against the party.
+
+If you convey a covered work, knowingly relying on a patent license, and the Corresponding Source of the work is not available for anyone to copy, free of charge and under the terms of this License, through a publicly available network server or other readily accessible means, then you must either (1) cause the Corresponding Source to be so available, or (2) arrange to deprive yourself of the benefit of the patent license for this particular work, or (3) arrange, in a manner consistent with the requirements of this License, to extend the patent license to downstream recipients. “Knowingly relying” means you have actual knowledge that, but for the patent license, your conveying the covered work in a country, or your recipient's use of the covered work in a country, would infringe one or more identifiable patents in that country that you have reason to believe are valid.
+
+If, pursuant to or in connection with a single transaction or arrangement, you convey, or propagate by procuring conveyance of, a covered work, and grant a patent license to some of the parties receiving the covered work authorizing them to use, propagate, modify or convey a specific copy of the covered work, then the patent license you grant is automatically extended to all recipients of the covered work and works based on it.
+
+A patent license is “discriminatory” if it does not include within the scope of its coverage, prohibits the exercise of, or is conditioned on the non-exercise of one or more of the rights that are specifically granted under this License. You may not convey a covered work if you are a party to an arrangement with a third party that is in the business of distributing software, under which you make payment to the third party based on the extent of your activity of conveying the work, and under which the third party grants, to any of the parties who would receive the covered work from you, a discriminatory patent license (a) in connection with copies of the covered work conveyed by you (or copies made from those copies), or (b) primarily for and in connection with specific products or compilations that contain the covered work, unless you entered into that arrangement, or that patent license was granted, prior to 28 March 2007.
+
+Nothing in this License shall be construed as excluding or limiting any implied license or other defenses to infringement that may otherwise be available to you under applicable patent law.
+
+#### 12. No Surrender of Others' Freedom.
+
+If conditions are imposed on you (whether by court order, agreement or otherwise) that contradict the conditions of this License, they do not excuse you from the conditions of this License. If you cannot convey a covered work so as to satisfy simultaneously your obligations under this License and any other pertinent obligations, then as a consequence you may not convey it at all. For example, if you agree to terms that obligate you to collect a royalty for further conveying from those to whom you convey the Program, the only way you could satisfy both those terms and this License would be to refrain entirely from conveying the Program.
+
+#### 13. Use with the GNU Affero General Public License.
+
+Notwithstanding any other provision of this License, you have permission to link or combine any covered work with a work licensed under version 3 of the GNU Affero General Public License into a single combined work, and to convey the resulting work. The terms of this License will continue to apply to the part which is the covered work, but the special requirements of the GNU Affero General Public License, section 13, concerning interaction through a network will apply to the combination as such.
+
+#### 14. Revised Versions of this License.
+
+The Free Software Foundation may publish revised and/or new versions of the GNU General Public License from time to time. Such new versions will be similar in spirit to the present version, but may differ in detail to address new problems or concerns.
+
+Each version is given a distinguishing version number. If the Program specifies that a certain numbered version of the GNU General Public License “or any later version” applies to it, you have the option of following the terms and conditions either of that numbered version or of any later version published by the Free Software Foundation. If the Program does not specify a version number of the GNU General Public License, you may choose any version ever published by the Free Software Foundation.
+
+If the Program specifies that a proxy can decide which future versions of the GNU General Public License can be used, that proxy's public statement of acceptance of a version permanently authorizes you to choose that version for the Program.
+
+Later license versions may give you additional or different permissions. However, no additional obligations are imposed on any author or copyright holder as a result of your choosing to follow a later version.
+
+#### 15. Disclaimer of Warranty.
+
+THERE IS NO WARRANTY FOR THE PROGRAM, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE PROGRAM “AS IS” WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK AS TO THE QUALITY AND PERFORMANCE OF THE PROGRAM IS WITH YOU. SHOULD THE PROGRAM PROVE DEFECTIVE, YOU ASSUME THE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION.
+
+#### 16. Limitation of Liability.
+
+IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MODIFIES AND/OR CONVEYS THE PROGRAM AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PROGRAM (INCLUDING BUT NOT LIMITED TO LOSS OF DATA OR DATA BEING RENDERED INACCURATE OR LOSSES SUSTAINED BY YOU OR THIRD PARTIES OR A FAILURE OF THE PROGRAM TO OPERATE WITH ANY OTHER PROGRAMS), EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.
+
+#### 17. Interpretation of Sections 15 and 16.
+
+If the disclaimer of warranty and limitation of liability provided above cannot be given local legal effect according to their terms, reviewing courts shall apply local law that most closely approximates an absolute waiver of all civil liability in connection with the Program, unless a warranty or assumption of liability accompanies a copy of the Program in return for a fee.
+
+END OF TERMS AND CONDITIONS
+
diff --git a/docs/manual/add-media/index.md b/docs/manual/add-media/index.md
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+Add media
+=========
+
+You can add files to the Airtime library using the **Add Media** page of the administration interface. (The **Add Media** page is not visible to *Guest* users). This page includes an upload queue for media files, which supports drag and drop from your computer's file manager if you are using a recent web browser, such as the current version of *Mozilla Firefox* or *Google Chrome*.
+
+Some web browsers may set an upload limit for a single file, between 200MB and 2GB. If you need to upload files larger than 200MB to the Airtime server on a regular basis, you may find it more convenient to perform the upload using FTP, rather than through the browser. You can obtain FTP login details from the Sourcefabric support team.
+
+
+
+If your web browser does not support drag and drop, you can use the **Add files** button, which has a white plus sign in a green circle icon, to open a file selection window on your computer.
+
+
+
+After you have added all the files that you require to the upload queue, click the **Start upload** button, which has a green arrow icon.
+
+
+
+The row of the file currently being uploaded is highlighted in pale green. At the bottom of the upload queue, a progress bar and percentage indicates how much of the upload has taken place so far. The upload speed will depend on the network connection between your computer and the Airtime server.
+
+
+
+Once it has been uploaded successfully, each file row displays a white check mark in a green circle icon.
+
+
+
+Your files are now imported into the Airtime library, ready to be included in your broadcast playlists, smart blocks and shows.
+
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+Calendar
+========
+
+The Calendar page of the Airtime administration interface has three views: **day**, **week** and **month**, which can be switched using the grey buttons in the top right corner. By default, the **month** view is shown, with today's date highlighted by a pale green background.
+
+
+
+In the top left corner of the page, you can go back or forward through the **Calendar** by clicking on the buttons which have a small grey triangle in a white circle. Click the **today** button to jump to today's date in the current view. (The **today** button will be greyed out if you are already viewing that date). In the **day** or **week** views, there is also a drop-down menu which allows you to set the resolution displayed for the calendar, ranging from one minute per row to sixty minutes per row.
+
+
+
+Adding a show
+-------------
+
+Only *Admins* and *Program Managers* can use this feature. To add a new show to the Calendar, click the **+ Show** button in the top left corner of the page, or click on any future row or box in the Calendar which is empty. Either of these actions opens the **Add this show** box, which has five sections, arranged vertically: **What**, **When**, **Live Stream Input**, **Who**, and **Style**. Click the small black triangle to the left of the section name if you wish to minimize or maximize it.
+
+What
+----
+
+In the **What** box, enter the **Name**, public website **URL**, **Genre** and **Description** for the show that you are creating.
+
+
+
+When
+----
+
+Next, in the **When** section, if you clicked on a date in the **Calendar** this should already be entered in the **Date/Time Start** field. To set another date for the show, click on the date in the **Date/Time Start** field and select the date that you require from the small pop-up calendar which will appear. Click on the adjacent time field to set the start time for the show, with the pop-up **Hour** and **Minute** box. The Minute values in the pop-up time boxes are rounded to the nearest five minutes. You can also adjust the times manually by clicking into the fields and typing. Repeat the process to set the **Date/Time End** fields. The **Duration** of the show will be displayed automatically, based on the start and end times you have set.
+
+By default, the **Timezone** of the show start and end times will be the timezone of the station, as set on the Preferences page on the System menu. You can specify an alternative time zone using the drop-down menu, if you wish. The time zone displayed in the Calendar when you log in depends on your personal settings. See 'Updating your own account' in the chapter *Users* for more details.
+
+
+
+Airtime will only allow you to enter valid times for shows. If you attempt to schedule show times which would be impossible, by ending the show before it begins, Airtime will highlight the error with a pink background.
+
+
+
+To schedule a regular show, check the **Repeats?** box, which will make a new section of the dialog appear. Optionally, click the **Link:** box to automatically schedule the same content in the repeated shows as in the original show.
+
+
+
+Then select either **weekly**, **every 2 weeks**, **every 3 weeks**, **every 4 weeks** or **monthly** from the **Repeat Type** drop-down menu. If you have selected a weekly option, check the boxes for the days of the week that you want to schedule the regular show on. If you have selected **monthly**, you have the option to **Repeat By: day of the month** (for example the 9th of each month) or **day of the week** (for example the second Wednesday of each month).
+
+
+
+Uncheck the **No End?** box and set the **Date End** for the regular show to finish, or leave the **No End?** box checked to schedule the show indefinitely.
+
+
+
+Live Stream Input
+-----------------
+
+The **Live Stream Input** section can be used to enable live input streams during the show, and also to configure authentication for them. If you check the **Use Airtime Authentication** box, the DJs (presenters) of the show will be able to connect a live stream to Airtime's **Show Source Mount** using their login name and password. See the chapter *Stream Settings* for details.
+
+If you check the **Use Custom Authentication** box instead, you can set a one-time username and password pair for live stream input to the show. For example, you may wish to create an authenticated live stream input for a particular remote news reporter, without providing any further access to your Airtime server for that person.
+
+
+
+A reminder of the **Host**, **Port** and **Mount** point for the live input stream to use is shown at the end of the **Live Stream Input** section.
+
+Who
+---
+
+In the **Who** section, type the first few letters of the name of the show's DJ (presenter) in the **Search Users** field to select a name from the Airtime database, or check one of the **DJs** boxes in the vertical list below. This association of a DJ name with a particular show enables that presenter to add playout media to the show, and also to connect a live Show Source input stream (if that has been enabled), so it is important to get the DJ's name right.
+
+
+
+Style
+-----
+
+Show colours in the Calendar are set automatically, based on the **Name** of the show, so that individual shows can be easily identified in the **Calendar**. If you wish, you can select a **Background Colour** and **Text Colour** manually by clicking the boxes in the **Style** section. Click the coloured circle icon in the lower right corner to close this pop-up window.
+
+
+
+Optionally, you can upload a Show Logo by clicking the **Browse** button.
+
+
+
+Finally, click the **+ Add this show** button at the top or bottom of the box. The new show will now be displayed in the **Calendar**, with a regular slot if you have chosen to schedule one.
+
+Editing a show
+--------------
+
+Show configuration and metadata can be changed at any time before the end of a show, except for **Date/Time Start**, which is fixed after broadcast of that show commences. Click the show in the Calendar, and select either **Edit Show** for a one-off show, **Edit** then **Edit This Show** for all episodes of a repeating show or ****Edit**** then **Edit This Instance** for just one episode of a repeating show, from the pop-up context menu. Any of these actions opens the **Update Show** box, which is almost exactly the same as the **Add this Show** box. Click the **+ Update show** button at the top or bottom of the box when you are done.
+
+
+
+Episodes of repeating shows also have an **Instance Description** field in which you can add details for that particular episode. Click the episode in the Calendar, click **Edit** on the pop-up menu, then click **Edit this instance**. After entering an Instance Description, click the **+ Update show** button.
+
+
+
+Alternatively, individual shows can be clicked on and dragged to new days and times in the calendar. However, Airtime will not allow you to drag a future show into the past, or drag and drop instances of a repeated show. In the **Day** and **Week** views, show length can be adjusted by clicking on the lower edge of the show box, and dragging the edge of the box upwards or downwards. The new show length is calculated automatically.
+
+Adding content to a show
+------------------------
+
+To add content to a show, click the show in any view on the Calendar, and select **Add/Remove Content** from the pop-up menu. Shows that do not yet contain any scheduled content are marked with a red exclamation mark icon, to the right of the show start and end times in the top bar. Shows partially filled with content have a yellow exclamation mark icon. During playout of the show, a green play icon will also be shown in the top bar.
+
+
+
+The **Add/Remove Content** action opens a window with the name of the show. Like when using the **Now Playing** page, you can search for content items and add them to the show schedule on the right side of the page. Refer to the *Now Playing* chapter for details.
+
+When your show has all the required content, click the **OK** button in the bottom right corner to close the window. Back in the **Calendar**, click the show and select **Show content** from the pop-up menu to view a list of content now included in the show.
+
+
+
+The **Contents of Show** window is a read-only interface featuring an orange bar which indicates how much media has been added to the show. Click the **OK** button in the bottom right corner, or the white **x** icon in the top right corner, to close the window.
+
+
+
+Removing content from a show
+----------------------------
+
+To remove an individual item from a show, click on the show in the **Calendar**, and select **Add/Remove Content** from the pop-up menu. In the window which opens, click any item you wish to remove from the show, then click **Delete** on the pop-up menu, or check the box in the item's row then click the **Trashcan** icon at the top of the table. To remove all files and playlists from a show, click on the show in the **Calendar**, and select **Remove All Content** from the pop-up menu.
+
+Deleting a forthcoming show
+---------------------------
+
+To delete one forthcoming instance of a repeating show, click on the show in the **Calendar**, and select **Delete**, then **Delete This Instance** from the pop-up menu. If you wish to delete all future instances of a repeating show, select **Delete This Instance and All Following** from the pop-up menu.
+
+
+
+You cannot delete or remove content from shows that have already played out. These shows have only one option on the pop-up menu, which is **Show Content**.
+
+Cancelling playout
+------------------
+
+If you wish to cancel playout of a show while it is running, click on the show in the **Calendar** and select **Cancel Current Show** from the pop-up menu. Airtime will ask you if you are sure about this action, as it cannot be undone.
+
+
+
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+Getting started
+===============
+
+You can access the Airtime administration interface by opening your *airtime.pro* domain name in your web browser, for example:
+
+ https://example.airtime.pro/
+
+If you are the station administrator, log in with the user name *admin* and the password given to you. Your browser should automatically focus on the **Username** field.
+
+
+
+If you enter the password incorrectly three times, you will be presented with a reCAPTCHA challenge to prove that you are a human, and not a password-guessing robot. This feature helps protect your Airtime installation against brute force attacks.
+
+
+
+Register Airtime
+----------------
+
+After you have logged in as *admin* for the first time, a pop-up window will ask if you wish to send technical support data about your server to Sourcefabric.
+
+
+
+These details can be viewed by clicking on the **Show me what I am sending** link, which expands a scrolling window. The data helps Sourcefabric engineers resolve any problems with your Airtime installation, as well as count the number of installations worldwide.
+
+
+
+Sourcefabric has a privacy policy regarding data collection, which you can read by clicking the link to further down. After checking the **Send support feedback** and **privacy policy** boxes, you can submit the data by clicking the **Yes, help Airtime** button.
+
+This window also offers the opportunity to **Promote my station on Sourcefabric.org** (on the page ) by checking the box. Fill in the form which will appear with some details about your station. The contact details are only requested for verification purposes, and will not be made available to the public. Click the **Browse** button to select a **Station Logo** image from the file manager on your computer.
+
+
+
+The Master Panel
+----------------
+
+After the pop-up window is closed, you should now see the **Master Panel**, which is present at the top of every page of the Airtime interface. On the left hand side, the Master Panel displays the details of the **Previous** file played out, the current file playing (with an orange progress bar and time elapsed/time remaining), and the details of the **Next** file due to play. It also displays the name and scheduled time of the current show, with a blue progress bar.
+
+Beneath this side of the Master Panel is the main navigation menu, with sub-menus labelled **Now Playing**, **Add Media**, **Library**, **Calendar**, **System**, **History** and **Help**. We'll be looking at the contents of these menus in the following chapters of this book.
+
+
+
+On the right hand side of the Master Panel are the switches for the **Source Streams**, which enable you to switch from scheduled play to remote live sources, and back. (See the chapter *Stream settings* for details of this feature). The **On Air** indicator turns from dark grey to red whenever audio is being played out. Underneath this indicator is a **Listen** button, which opens a pop-up player that can be used to audition the available playout streams.
+
+There is also a clock indicating the **Station time** and time zone. Beneath the clock and just to the left, the name of the user currently logged in is displayed, and there is the link for you to **Logout**.
+
+
+
+Clicking the username link opens a page in which you can update your Airtime password, contact details, language and time zone preferences. Click the **Save** button once you have made the changes that you require.
+
+
+
+Checking an Icecast server
+--------------------------
+
+You can check that Icecast is running by opening its default server port of 8000 in your web browser. For example, using the domain name of the Icecast server found on the **Stream Settings** page:
+
+ http://example.out.airtime.pro:8000/
+
+You should see the Icecast status page, with details of any connections that your Airtime server has made to this Icecast server. If you have only just started with Airtime, there may not be any media playing out yet.
+
+
+
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+Help
+====
+
+The first entry on Airtime's **Help** menu is for the **Help Center**, which is the official support channel for Airtime Pro. The next link offers a quick **Getting Started** guide for new users. There is also a link to the online version of this **User Manual** and an **About** page, which displays version and licensing information.
+
+
+
+The Live Chat window for support is in the lower right corner of the page.
+
+When all other avenues have been exhausted, email us directly at and we'll try to help!
+
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+History
+=======
+
+On the History menu, the **Playout History** page enables you to view a list of files played within a specific date and time range. This page is designed to help your station prepare reports for music royalty collection societies and regulatory agencies.
+
+Search results can be copied to the clipboard using the **Copy** button, exported as data in **CSV** format (comma separated values), exported as a document in **PDF** format, or displayed in a printer-friendly format using the **Print** button. (Your web browser must have an Adobe Flash plugin installed for these buttons to appear). Press the **Esc** key to return to the Airtime interface once the print job is complete.
+
+This page has three tabs: **Log Sheet**, **File Summary** and **Show Summary**. On any of these tabs, you can select a date and time range by clicking the calendar and clock icons in the upper left corner of the page. Then click the search button, which has a magnifying glass icon, to the right. A list of files played during that date and time range will appear further down the page.
+
+In the **Log Sheet** tab, the playout history is sorted by **Start Time** and **End Time** by default.
+
+
+
+The number of times each file was played and the length of the files are shown in the **File Summary** tab. To make optimal use of this feature for royalty reporting purposes, music files must be tagged with **Composer** and **Copyright** metadata. The artist performing a piece of music may not be the original composer of the work, or the copyright holder of the sound recording.
+
+
+
+On the **Show Summary** tab, click the name of a show within the search range to expand its row and see its playout details.
+
+
+
+Manual logging
+--------------
+
+If your station features playout from analogue sources such as turntables or microphones, there is no automatic metadata for Airtime to collect from these inputs. To ensure that the playout history is complete, you can add log entries manually by clicking the **+ Create Entry** button. This action opens a pop-up window with default fields of Start Time, End Time, Title and Creator. Click the **Find** button to automatically fill the **Choose Show Instance** menu with the names of shows that took place within the specified time range. Then click the **Save** button to enter the new item into the playout history.
+
+
+
+Log entries can also be manually deleted, using the button with the trashcan icon, to the right of the **+ Create Entry** button. Pages of entries can be selected for deletion using the **Select** drop-down menu.
+
+History Templates
+-----------------
+
+The **History Templates** page on the History menu enables you to prepare reports with the exact content required by regulatory agencies in the territories that you are broadcasting to. You can begin creating a custom template by clicking the button **New Log Sheet Template** or the button **New File Summary Template**.
+
+
+
+Either of these actions opens a page in which you can name the new template, and add or remove elements from the list on the left. To add a new element from the list on the right, click the plus icon for the item you require. If the element you require is not listed, you can use the **Add New Field** box at the lower end of the right side column. Select *string*, *boolean*, *integer*, or *float*, depending on the type of data that you wish to log, and then click the **+ Add** button.
+
+
+
+When the template is in the format you require, click the **Save** button, and **Set Default Template** if you wish. The new template will now be listed on the History Templates page. If you have set a new default template, any changes will be visible on the tabs of the Playout History page.
+
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+What is Airtime Pro?
+====================
+
+[Airtime](http://airtime.sourcefabric.org/ "Airtime homepage") is the open broadcast software for scheduling and remote station management. Web browser access to the station's media library, multi-file upload and automatic metadata import features are coupled with a collaborative on-line scheduling calendar and playlist management. The scheduling calendar is managed through an easy-to-use interface and triggers playout with sub-second precision.
+
+
+
+A fully managed [Airtime Pro](https://www.airtime.pro/ "Airtime Pro") service is available from Sourcefabric. Airtime source code is also available for download, under the GNU Affero General Public License version 3. If you're an [Airtime Pro](https://www.airtime.pro/ "Airtime Pro") user, you can go straight to the *Getting started* chapter of this book and log in. Alternatively, a demonstration server is available for public use at:
+
+
+
+Airtime has been intended to provide a solution for a wide range of broadcast projects, from community to public and commercial stations. Airtime supports the playout of lossy compressed audio files in both MP3 and AAC formats and the open, royalty-free equivalent [Ogg Vorbis](http://www.vorbis.com/ "Ogg Vorbis homepage"). It also supports playout of lossless FLAC and WAV format audio files.
+
+Available stream output formats include Ogg Vorbis, Ogg Opus, MP3, and AAC. The Airtime library is indexed in a database to enable searching. News editors, DJs and station controllers can use Airtime to build playlists or smart blocks and manage media files (upload, edit metadata, manage advertisements) at the station or via the Internet.
+
+The Airtime administration interface is designed to work with any web browser, on any desktop or mobile platform with a minimum display size of 1280x768 pixels. Airtime looks best on a high definition display of 1920x1080 pixels. The recommended web browsers are **Mozilla Firefox 37** or **Google Chrome 42** (or later versions). **Apple Safari 6** (or later) is also supported.
+
+International UTF-8 metadata in media files is supported throughout, and the Airtime interface can be localized into any language or dialect. Localizations that are installed by default include Austrian, Brazilian, British, Canadian, Chinese, Czech, French, German, Greek, Hungarian, Italian, Korean, Polish, Russian, Spanish and USA.
+
+
+
+Airtime workflow
+----------------
+
+This typical workflow is intended to clarify the difference between the various components that make up a complete Airtime system.
+
+1. There are media files on a storage server, which include metadata in their tags (title, creator, genre and so on).
+
+2. The Airtime media-monitor keeps track of files being added, renamed, moved or removed from storage, and reads their metadata using the Mutagen library.
+
+3. A PostgreSQL database contains the location of those media files and their metadata. The database also contains details of specified remote input streams.
+
+4. Pypo, the Python Playout engine, downloads media from the storage up to 24 hours ahead of playout and checks it for average level (with ReplayGain tools) and leading or trailing silence (with Silan). At playout time, the media to be broadcast is sent to Liquidsoap.
+
+5. Liquidsoap takes individual media files and remote input streams, and assembles them into a continuous output stream. This output stream can be sent to an Icecast streaming server for distribution over the Internet. You can stream to up to three different distribution servers with the same Airtime server, if you wish.
+
+6. RabbitMQ pushes messages from Airtime to media-monitor and pypo about changes to media files and the playout schedule.
+
+7. Airtime manages all of these components, and provides an easy, multi-user web interface to the system. It enables your station staff, depending on the permissions you have granted them, to:
+
+a) upload media files to the storage server via the **Add Media** page
+
+b) automatically import file metadata into the PostgreSQL database
+
+c) search for and download media files, and edit the metadata of individual files, if required, on the **Library** page
+
+d) create and edit playlists of media files or create smart blocks of content based on metadata, edit cue points and fades, and audition them. Playlists and smart blocks are also saved in the database, and can be searched for on the **Library** page
+
+e) schedule colour-coded broadcast shows (which can contain playlists, smart blocks, pre-recorded complete shows, timed remote input streams, or be live) for specific dates and times on the **Calendar** page. Regular shows can be scheduled by the day of the week or month, and can be linked to share content
+
+f) manage presenter, staff and guest access to Airtime, and contact details, via the **Manage Users** page
+
+g) see what is about to be played by Liquidsoap on the **Now Playing** page, with support for last-minute changes to the content
+
+h) audition available output streams from the server using the **Listen** button
+
+i) check the status and resource usage of system components on the **Status** page
+
+j) export the broadcast schedule to external sites via the Public Airtime API on the **Preferences** page
+
+k) see logs on the **Playout History** page and view graphs on the **Listener Stats** page
+
+l) configure the Airtime system on the **Preferences** and **Streams** pages
+
+m) copy and paste code into a third-party website from the **Embeddable Player** page
+
diff --git a/docs/manual/library/index.md b/docs/manual/library/index.md
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+Library
+=======
+
+This page of the Airtime interface enables you to search the media library, sort and display the search results by the criteria that you choose, audition library items, and drag and drop those items into a playlist. You can also adjust fade and cue points, create smart blocks (automatically generated playlists), or add incoming web streams to the library. The **Library** page is not visible to *Guest* users.
+
+Searching the library
+---------------------
+
+The search features on the left side of the **Library** page are the same as those available on the **Now Playing** page. Refer to the chapter *Now Playing* for details.
+
+Creating a new playlist
+-----------------------
+
+Once you have found the media that you require using the search tools, you can create a new playlist on the right hand side of the **Library** page. If it is not already open, click the **Open Media Builder** button to begin.
+
+
+
+Then click the **New** button and select **New Playlist** from the pop-up menu.
+
+
+
+At first, the new playlist will be shown as *Untitled Playlist*. Click the pencil icon on the right to give the playlist a name.
+
+
+
+Type the name you have chosen, then press the **Enter** key on your keyboard to save the new name. You can edit the name of the playlist later, by clicking on the pencil icon again.
+
+
+
+Click the link **View / edit description** to expand a box where you can enter a **Description** for the playlist, then click the **Save** button. Setting good quality metadata here will help you find the playlist using the search box later, so you should be as descriptive as possible.
+
+
+
+Adding content to a playlist
+----------------------------
+
+With a playlist open, click on an item in the search results and then click **Add to Playlist** on the pop-up menu. Or drag and drop items from the search results on the left into the playlist on the right. Jingles and voice tracks can be added before, after or between music items.
+
+
+
+You can also select or deselect a whole page of search results using the **Select** button, just below the simple search field. Alternatively, use the checkboxes in the first column of the search results table to select individual items, then click the **Add to current playlist** button. Items that you own which you no longer require can be deleted from Airtime's library using the **Trashcan** button.
+
+
+
+After adding files to the playlist, the total playlist time is displayed in the top right corner. The duration of an individual file is shown in each row of the playlist in a white font, and beneath this figure the time since the beginning of the playlist is displayed in a smaller light grey font. This elapsed time figure can be used as a time check for voice tracks, although this option may limit the re-usability of the voice track.
+
+To audition a playlist file in your web browser, click the white triangle**** button on the left side of its row. (If the format of the file is not supported by your browser, the triangle in this button will be greyed out). If audition of the file format is supported, a pop-up window will open, with the playlist starting at the file you clicked.
+
+Click the small white **x** icon on the right hand side of each row to remove a file from the playlist. You can also drag and drop files to re-order them, or click the **Shuffle** button to re-order files automatically. Click the **Clear** button to remove all content from the playlist, or click the **Delete** button to remove the playlist from the Airtime library altogether.
+
+
+
+To adjust start and end fades, click the playlist **Fade** button (two horizontal white arrows crossing in a grey rectangle), to the left of the **Delete** and **Save** buttons. This action opens a beige bar in which you can set the **Fade in** duration for the first item in this playlist, and the **Fade out** duration for the last item. This duration figure represents the length of the fade, in seconds and tenths of a second, not the time at which the fade takes place. The default fade duration is set in the **Preferences** page on the **System** menu.
+
+
+
+Click any one of the smaller **Fade** buttons between file rows to open another beige bar, which enables you to set **Fade out** and **Fade in** durations between two adjacent files in the playlist. The fade buttons for adjacent files change to an orange background when you click them.
+
+
+
+If your web browser supports the Web Audio API, you will see a **Show Waveform** button which enables you to view the waveforms of the adjacent items, adjust the fades and audition them. Click the **Fade Out** or **Fade In** button to change the fade curves by clicking in the waveforms, then click the **Play** button to audition the effect of any adjustment you have made. To audition just one part of the item, use the **Cursor** button to move the play cursor, which appears as a thin red line, on the waveform. The playback progress is shown by an orange colour on the waveform.
+
+
+
+Each file in the playlist also has a button with two square brackets, which enables you to adjust **Cue In** and **Cue Out** times for that particular file. Like the fade button, the cue button changes to an orange background when you click it.
+
+**Cue In** and **Cue Out** points are set in hours, minutes, seconds and tenths of a second, relative to the start of the item. If a file has leading or trailing silence, corresponding cue points will be set automatically. The duration of the file in the playlist is updated automatically when you adjust a cue point, but the **Original Length** of the file is also displayed for your reference.
+
+
+
+If a **Fade In** and **Cue In** are set on the same item in the playlist, the fade in begins at the **Cue In** point. If a **Fade Out** and **Cue Out** are set on the same item, the fade out ends at the **Cue Out** point. If your web browser supports the Web Audio API, you can click the **Show Waveform** button to adjust and audition cue points.
+
+
+
+When your playlist is complete, click the **New** button in the top left corner to create another playlist, click the close icon (a white cross in a black circle) in the top right corner, or browse to another page of the Airtime interface.
+
+If you want to edit the playlist content or metadata later, you can find it by **Title**, **Creator**, **Last Modified** date, **Length**, **Owner** or **Year** using one of the search tools on the Library page. Click the playlist in the search results list, and then click **Edit** from the pop-up menu. You can also **Preview** the entire playlist in a pop-up audition window, **Duplicate** or **Delete** one of your playlists from this menu.
+
+
+
+Creating a smart block
+----------------------
+
+Smart blocks are automatically filled with media files from the Airtime library, according to the criteria that you specify. This feature is intended to save time, compared to selecting items for a playlist manually.
+
+To create a smart block, click the **New** button on the right side of the Library page, and select **New Smart Block** from the pop-up menu. Like a playlist, smart blocks can have a title and **Description**, which you can edit. This helps you find relevant smart blocks in searches.
+
+
+
+Click the link **Smart Block Options** to display the criteria and modifiers for the smart block. The criteria can be any one of Airtime's metadata categories, such as **Title**, **Creator** or **Genre**. The modifier depends on whether the metadata in question contains letters or numbers. For example, **Title** has modifiers including *contains* and *starts with*, whereas the modifiers for **BPM** include *is greater than* and *is in the range*.
+
+You can also set the **smart block type**. A **Static** smart block will save the criteria and generate the block content immediately. This enables you to edit the contents of the block in the **Library** page before adding it to a show. A **Dynamic** smart block will only save the criteria, and the specific content will be generated at the time the block is added to a show. After that, the content of the show can be changed or re-ordered in the **Now Playing** page.
+
+
+
+Click the **plus button** on the left to add OR criteria, such as **Creator** containing *beck* OR *jimi*. (The criteria are not case sensitive). For a static smart block, click the **Generate** button to see the results. Dynamic smart blocks do not display the **Generate** or **Shuffle** buttons.
+
+
+
+If you don't like the ordering which is generated, click the **Shuffle** button, or drag and drop the smart block contents into the order that you prefer. You can also remove items or add new items manually from the Library. Changes to static smart block contents are saved automatically when you add items, remove or re-order them, or click the **Generate** button. Click the **Save** button in the upper right corner to save any changes to smart block criteria.
+
+To add an AND criteria, such as **Creator** containing *jimi* AND BPM in the range *120* to *130*, click the **plus button** on the right. If you see the message **0 files meet the criteria** in this case, it might mean that the files in the Library have not been tagged with BPM metadata. See the chapter *Preparing media for ingest* for tips on tagging content.
+
+
+
+By default, a smart block will not contain repeated items, which will limit the duration of the block if you do not have sufficient items meeting the specified criteria in your **Library**. To override the default behaviour, check the **Allow Repeat Tracks** box. The **Sort tracks by** menu offers the options of **random**, **newest** or **oldest** items first.
+
+
+
+If you have a large number of files which meet the criteria that you specify, you may wish to limit the duration of the smart block using the **Limit to** field, so that it fits within the show you have in mind. Select **hours**, **minutes** or **items** from the drop-down menu, and click the **Generate** button again, if it is a static smart block. Then click the **Save** button.
+
+Smart blocks can be added to shows in the same way as a manually created playlist is added. Smart blocks can also be added to one or more playlists. In the case of a playlist containing a static smart block, click **Expand Static Block** to view the contents. For a dynamic smart block, you can review the criteria and duration limit by clicking **Expand Dynamic Block**.
+
+
+
+Once created, smart blocks can be found in Library searches and refined at any time. They can be re-opened by clicking on the smart block and selecting **Edit** from the pop-up menu.
+
+Adding a web stream
+-------------------
+
+A web stream URL and metadata can be added to the Airtime library, so that a remote stream can be searched for and scheduled to be *pulled* into a show. For example, at the top of the hour your station may pull a news report from journalists working in another studio. This is a different concept from **Master Source** and **Show Source** remote streams which are *pushed* into the Airtime playout schedule.
+
+To add a web stream, click the **New** button on the right side of the Library page, and select **New Webstream** from the pop-up menu. Like a playlist, web streams in the Library can have a title and **Description**, which may help you find them in searches later.
+
+
+
+The **Stream URL** setting must include the *port number* (such as 8000) and *mount point* (such as remote\_stream) of the remote stream, in addition to the streaming server name. A **Default Length** for the remote stream can also be set. If the stream is added at the end of a show which becomes overbooked as a result, it will be faded out when the show ends.
+
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+Listen
+======
+
+In the Master Panel, beneath the **ON AIR** indicator, you will find the **LISTEN** button.
+
+
+
+This button opens a pop-up **Live stream** window, which enables you to monitor the streams that have been configured previously in the **Streams** page on the **System** menu. In the **Live stream** window, a drop-down menu enables you to switch between the streams which are currently available. Both the streaming server and name of the stream are shown. Your station logo is shown in the top left corner of the window, if you have uploaded one via the **Preferences** page on the **System** menu.
+
+
+
+Beneath the drop-down menu for stream selection is an orange volume control bar. This volume control only adjusts the output level of the pop-up **Live Stream** window, not the output level of the Airtime server itself. To adjust output level between muted and maximum, click on the corresponding place in the orange bar, with maximum level on the right side. Click on the left side speaker icon to mute the output.
+
+
+
+To display the URL of the stream you are monitoring, so that you can copy and paste it into an email or web page, click the **Share** button. Click the **X** icon to the right of the URL to return to the drop-down menu of available streams.
+
+
+
+When you have finished monitoring the streams, you can close the pop-up window in the normal way, depending on the browser you are using. In Firefox, you can close the window by clicking the **X** button in the top right corner. This action will not shut down the output from the Airtime server, only the stream monitoring on your desktop computer or laptop.
+
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+Listener stats
+==============
+
+The **Listener Stats** page on the System menu shows graphs of listener connections to the configured streaming servers for the selected date and time range. On the right side, a green **Status** indicator shows **OK** if the connection to the streaming server is active.
+
+
+
+If the status indicator is red, check that the **Admin User** and **Admin Password** settings are correct under **Additional Options** for the named mount point, such as *airtime\_128*, on the **Streams** page of the **System** menu.
+
+By default, statistics for the last 24 hours of streaming are shown. To change this date and time range, click the calendar and clock icons in the lower left corner of the page, then click the magnifying glass icon.
+
+
+
+To choose which particular streams should have statistics displayed, click the check boxes for the individual colour-coded mount points, just below the graph.
+
+
+
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+Live shows with Mixxx
+=====================
+
+Mixxx is a cross-platform Open Source application for DJs, available from
+
+Installed on a desktop or laptop computer, Mixxx complements your Airtime server to provide a complete system for both live and scheduled broadcasting. Although Mixxx has many features designed for dance music DJs that require beat matching and pitch independent time stretching, the program can be used for any kind of manually triggered broadcast playout, including live speech shows such as news or current affairs.
+
+Mixxx supports a wide variety of popular hardware control surfaces, which can be connected to your computer using a USB cable. A control surface might replace or augment an analogue mixer in your studio, depending on your live mixing and playout requirements.
+
+Sound cards
+-----------
+
+If your computer does not have a four-channel audio interface to provide a cue output or separate mixer outputs, you can configure Mixxx to use additional stereo sound cards or USB devices by clicking **Options**, **Preferences**, then **Sound Hardware** in the main Mixxx menu. Select a device other than the default ** for the **Headphones** output, or select separate devices for **Deck** outputs. Then click the **OK** button.
+
+
+
+For performance and redundancy reasons it is advisable to cache files required for a particular show on the client machine where Mixxx is installed. For example, a nightly**** download of new media in the archive would guard against network problems at playout time potentially disrupting a broadcast at a remote studio.
+
+Mixxx users can also record a show, and then upload it through the Airtime web interface for collaborative or user-generated broadcasts.
+
+Streaming from Mixxx into Airtime
+---------------------------------
+
+Mixxx 1.9.0 or later includes a live streaming client which, like Airtime, is compatible with the **Icecast** and **SHOUTcast** media servers. This feature can also be used to stream from Mixxx directly into Airtime, using either the **Show Source** or **Master Source**.
+
+
+
+To configure **Mixxx** for streaming into Airtime, click **Options**, **Preferences**, then **Live Broadcasting** on the main Mixxx menu. For server **Type**, select the default of **Icecast 2**. For **Host**, **Mount**, **Port**, **Login** and **Password**, use the **Input Stream Settings** configured in the Airtime **Streams** page, on Airtime's **System** menu. See the chapter *Stream settings* for remote input connection details.
+
+Airtime skins for Mixxx
+-----------------------
+
+Airtime-themed skins for Mixxx, designed with broadcast users in mind, are available for download from
+
+These skins provide a simplified interface for live broadcasting which do away with EQ, flange effect, looping and other features required by dance music DJs. Instead, the emphasis is on a clear and uncluttered interface which does not require large mouse movements to operate the most important controls. There are versions available both with and without pitch/tempo controls for beat matching.
+
+
+
+After downloading one of the skins, extract the zip file and copy it to the *skins* directory on the computer where Mixxx is installed. For example, on Debian or Ubuntu:
+
+ unzip Airtime1280x1024_skin_for_Mixxx.zip
+ sudo cp -r Airtime1280x1024 /usr/share/mixxx/skins/
+
+Then, start Mixxx and select the Airtime skin by clicking **Options**, **Preferences**, then **Interface** in the Mixxx main menu.
+
+
+
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+Now playing
+===========
+
+The Now Playing page provides a view of the content your station will play out, or has already played out, which defaults to showing the 24 hours ahead. This page also enables you to make last-minute changes to running shows.
+
+If you've only just logged in to Airtime, there might not be any content shown yet. Click the calendar and clock icons above the table to change the date and time range, then click the **Find Shows** button (with the magnifying glass icon) to the right.
+
+
+
+To display the content of a particular show, click **Filter by Show** and select the name of the show from the drop-down menu which will appear.
+
+
+
+On the left side of the page, the **Start** and **End** times, **Duration** and **Title** of each content item are shown. On the right, **Creator**, **Album**, **Cue** or **Fade** times and **Mime** type (file format) can also be shown. This information can help you to prepare voice tracks for insertion into the show, including time checks if you wish. Putting current time information into voice tracks describing specific content can, of course, limit the re-usability of those voice tracks, unless you always broadcast a particular item at the same time of day.
+
+Click the **Show/hide columns** button on the right to configure the metadata displayed, by checking the boxes in the pop-up window.
+
+
+
+The row for the currently playing item is displayed with a bright green background. Any underbooked shows (shows with insufficient content to fill the time allowed) are displayed with a row indicating the length of the underbooking in minutes and seconds. These rows contain a red exclamation mark in the first column, and have a pink background.
+
+
+
+Removing content from a running show
+------------------------------------
+
+If a show is overbooked, which means the total playout duration is longer than the time allowed for the show, a brown row indicates that the item will be faded out when the show ends. A red row indicates that the item will not be played at all. The length of the overbooking is shown in minutes and seconds in the last row of the show. To remove the extra items from the end of an overbooked show, click the **Scissors** button at the top left of the table.
+
+
+
+Alternatively, check the boxes for items which have not yet completed playout, and click the **Trashcan** button, to the right of the Scissors, to remove them from the schedule. If you remove the currently playing item, playout will skip to the next item in the show automatically, so you should make sure you have enough items remaining in the show to avoid dead air.
+
+
+
+If you have a long schedule displayed, and you wish to skip to the currently playing item, click the button with the end arrow icon, to the right of the **Trashcan**.
+
+To cancel the current show completely, click the red button to the right again. A pop-up window will ask you to confirm the cancellation, as this action cannot be undone.
+
+
+
+Items which are no longer available have an exclamation mark icon in the second column. This may happen for media files which were part of previous shows, and were removed from Airtime's library subsequently. Items which are included in forthcoming shows cannot be removed from the Library via the Airtime interface.
+
+
+
+Advanced and simple library searches
+------------------------------------
+
+In the top left corner of the page is an **Add / Remove Content** button which enables you to open Airtime's library.
+
+
+
+In the library table which opens, the upper section is for the **Advanced Search Options**, which enable you to search within individual fields of the database such as **Title** or **Creator**. Like an Internet search engine, you do not have to type in the correct upper or lower case, press the **Enter** key, or even type the whole of the search term before matches from the Airtime library are displayed.
+
+
+
+At the bottom of the library table, click the **First**, **Previous**, **Next**, **Last** or individual page number buttons to browse the search results. Right-clicking an item in the search results will display the available metadata for that item in a pop-up window.
+
+
+
+The columns displayed in the search results correspond to the fields available for advanced searches (except for **Scheduled** and **Playlist / Block**, which indicate if a particular item is in use). To change the fields which can be searched, click the **Show / hide columns** button on the right side of the table, just above the search results.
+
+
+
+Click the metadata column headings such as **Title**, **Creator**, **Album**, or Genre to sort the entries in ascending or descending order. In the second column, audio files which can be auditioned in your browser are represented by a loudspeaker icon, while audio file types which cannot be auditioned in your browser have a padlock icon. Playlists are represented by a document and play button icon, smart blocks have a document and think bubble icon, and web streams have a globe and arrow icon.
+
+
+
+To find all files uploaded by yourself, or another specific member of the station staff, click the **Show / hide columns** checkbox which enables the **Owner** column. After you have made your search, you can click the header of the **Uploaded** column to find the items that person added to the server most recently.
+
+Advanced search terms are matched using 'and' rather than 'or' logic, to narrow your search. Perhaps you have tagged some jazz-flavoured station idents intended for use in a particular show called 'Jazz Maverick' with the **Album** tag of *Jazz Maverick* and a **Genre** of *Ident*. You could then find exactly the idents you are searching for by typing *maverick* and *ident* into the respective advanced search fields.
+
+Use the drop-down menu at the top of the search results to display **Files**, **Playlists**, **Smart Blocks**, **Web Streams** or **All** items. By default 10 items are listed, but you can click the **Show** drop-down menu to change the list length to between 5 and 100 items.
+
+
+
+Click the Advanced Search Options link to collapse that area. Beneath the collapsed link is the **Simple Search** field, with a magnifying glass icon, which enables the selection of items based on any tag metadata stored in the Airtime database, whether that metadata column is currently displayed in the table or not. For example, to search for all items between four and five minutes duration, enter *00:04* into the simple search field (for 00 hours and 04 minutes).
+
+
+
+If your jingles are tagged with *Jingle* in the **Genre** or other fields, you can very easily find them by entering *jingle* into the simple search field. The same technique can be used to find advertising and promotional files. (See the chapter *Preparing media for ingest* for tips on batch tagging files with metadata). Unlike advanced searches, simple searches use 'or' logic for multiple search terms, so a simple search for *jingle ident* will return items matching either keyword.
+
+Clicking on an item in the library table opens a pop-up menu which enables you to audition the item, or remove it from the Airtime library. Audio file types which cannot be auditioned directly in a web browser can be downloaded to your local computer for audition instead. The **Delete** option should be used with caution, because this action cannot be undone. For media files, you can also **Edit Metadata** stored for the file using this menu.
+
+
+
+Adding content to a running show
+--------------------------------
+
+After you have found the items that you want using the search tools, you can then drag and drop them from the library table on the left side of the page into the shows on the right side, including the current playing show.
+
+If the current show has nothing playing out at the time, the new item will begin playing immediately. This manual triggering of playout can be used as a live assist technique. For instance, a live show's host may not wish to cut off a studio discussion in order to play music at a fixed time.
+
+
+
+You can also select multiple items using the **Select** menu button, just beneath the simple search field, which has the options to **Select this page** of search results, **Deselect this page** and **Deselect all**. Alternatively, use the checkboxes on the left side of the library table to select specific items. Then drag one of the items into the show to add all of the selected items, or click the **Add to current show** button, which has a plus icon. If you wish, you can also use the **Trashcan** button to permanently remove items from Airtime's library. Only *admin* users have permission to delete items owned by other users.
+
+To insert checkbox selected items from the library at specific times in the show schedule, click one or more of the checkboxes on the left side of the schedule table to create an insertion point. Then click the **Add before selected items** button in the library table. To add a single item at the insertion point, double-click on it in the library. There is no need to select or drag the item first.
+
+
+
+Multiple insertion points can be enabled by clicking on more than one of the checkboxes, so that the same item is inserted into the schedule at different times. For example, you may wish to play a news report every hour, or a station ident after every five music files.
+
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+On air in 60 seconds!
+=====================
+
+Here's how you can use Airtime Pro to manage your broadcasts. Chapter names in this book are shown in *italics*, to help you find the details of each step (if you need to read more).
+
+1. Log in to your Airtime server with your **Username** and **Password** (*Getting started*).
+
+
+
+2. Add your files to the Airtime library by clicking **Add media** on the main menu, then click the **Add files** button. You can drag and drop your files into this window too. Then click the **Start upload** button (*Add media*).
+
+
+
+3. Create a show by clicking **Calendar** on the main menu, and then clicking the **+ Show** button (*Calendar*). Only admins and program managers can add shows (Users).
+
+
+
+4. Set a name for your show in the **What** section of the box, and a date and time in the **When** section, then click the **+ Add this show** button (*Calendar*).
+
+
+
+5. Add media to the new show by clicking your show in the **Calendar** and selecting **Add / Remove Content** (*Calendar*). Or if the show has already started, use the **Add / Remove Content** button on the Now Playing page (*Now Playing*).
+
+
+
+6. Click media in the search results on the left side of the pop-up window which will appear, and drag it into your show on the right side (*Now Playing*).
+
+
+
+7. You're on air! Click the **Listen** button to hear available streams.
+
+
+
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+General
+=======
+
+Only users with the **User Type** of *Admin* can see the **Settings** menu when they log in.
+
+On the Settings menu, click **General** to set your **Station Name**. This text is shown in your web browser's title bar when your station staff are logged into Airtime, and optionally in stream metadata. You can also set a **Station Description** and **Station Logo** here.
+
+
+
+The **Default Language** drop-down menu sets the default localization for your Airtime instance, and the **Station Timezone** drop-down menu can be used to display local time at your station. Airtime stores show times internally in UTC format (similar to *Greenwich Mean Time*), but displays local time for the convenience of your station staff. You can also set the day of the week that your station's **Week starts on**, which defaults to Sunday.
+
+
+
+Individual Airtime users can choose another interface localization when they log in, or set personal preferences for localization and time zone by clicking their username on the right side of the menu bar.
+
+
+
+Initially, the **Default Fade In** and **Default Fade Out** times for automated fades are set to half a second, and the **Default Crossfade Duration** is set to zero seconds. Custom fade and crossfade times can be set for adjacent items in a playlist or static smart block. See the chapter *Library* for details.
+
+You can enable live, read-only access to the Airtime schedule calendar for your station's public website by enabling the **Public Airtime API** option, if you wish. You can choose to reveal or hide the **login button** on your Radio Page by ticking on the **Display login button** option.
+
+
+
+The **TuneIn Settings** enable the use of the [TuneIn broadcaster API](http://tunein.com/broadcasters/api/ "TuneIn broadcaster API"). This feature is intended to push your Airtime station's stream metadata to your station's page on TuneIn.
+
+
+
+
+You will need to add the **Station ID **which you can find in your TuneIn station URL and is the letter '*s*' and the six digits that follow.
+
+The next fields to fill in are the **Partner Id **and **Partner Key**. You will have to contact TuneIn to request both the Id and Key. Send a email including your Station ID to [broadcaster-support@tunein.com](mailto:broadcaster-support@tunein.com "TuneIn broadcaster API") and let them know you are using Airtime Pro as your broadcasting software.
+
+
+
+**SoundCloud Settings **enable you to upload tracks from your Airtime Pro instance to your SoundCloud account. If you frequently broadcast full, pre-produced radio shows, this new feature can help you streamline your audio publishing workflow. Title, genre, and year metadata are passed along to SoundCloud to save you time, and you can set a default visibility for new uploads in the preferences.
+
+
+
+Once you've connected your Airtime Pro account to your SoundCloud account you'll be able to upload your tracks. To do so you only need to Left-click on a track in your library and select SoundCloud -> Upload track.
+
+ 
+
+Under **Dangerous Options **there is the possibility to clear your entire library *permanently. *By clicking on this option you will clear all uploaded files from your library. This does not include playlists, smart blocks or webstreams, however all their contents will be deleted.
+
+
+
+Once you have updated the preferences, click the **Save** button.
+
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+Preparing media for ingest
+==========================
+
+Before uploading media to an Airtime server, there are a number of factors which should be considered. Getting your ingest workflow right will save you a lot of time later.
+
+Metadata quality
+----------------
+
+Airtime automatically imports any metadata that is in the files' ID3 tags. If these tags are incorrect or are missing information, you will have to either edit the metadata manually, or suffer the consequences. For example, if the files have creator or genre metadata missing, it will be impossible to search for, create playlists or generate smart blocks according to these criteria until you add it.
+
+There are a number of programs available which can be used to correct mistakes or incomplete information in ID3 tags. On GNU/Linux, the program **Ex Falso** ([http://code.google.com/p/quodlibet/](http://code.google.com/p/quodlibet/) "http://sourceforge.net/projects/dr14tmeter/")) can be useful for batch setting and editing ID3 tags before importing files into your Airtime server. On a Debian or Ubuntu desktop machine, you can install this program with the command:
+
+ sudo apt-get install exfalso
+
+After installation, you can run this program with the command:
+
+ exfalso
+
+or from the desktop menu. The *Tags From Path* feature of this program is a particularly useful time saver if you have a large archive of untagged files. Sometimes there is useful creator or title information in the file name or directory path structure, which can be converted into an ID3 tag automatically.
+
+
+
+Metadata in legacy character sets
+---------------------------------
+
+Airtime expects file tag metadata to be stored in the international *UTF-8* character set. Programs such as **Ex Falso** (described above) encode metadata in UTF-8 by default. If you have an archive of files encoded with metadata in a legacy character set, such as the Cyrillic encoding *Windows-1251*, you should convert these files before import.
+
+The program **mid3iconv** (part of the **python-mutagen** package in Debian and Ubuntu) can be used to batch convert the metadata character set of files on the command line. You can install **python-mutagen** with the command:
+
+ sudo apt-get install python-mutagen
+
+ For example, to preview the conversion of tags from Windows-1251 (CP1251) character set to UTF-8 for a whole archive of MP3 files, you could use the command:
+
+ find . -name "*.mp3" -print0 | xargs -0 mid3iconv -e CP1251 -d -p
+
+in the base directory of the archive. The **-d** option specifies that the new tag should be printed to the server console (debug mode), and the **-p** option specifies a preview run. This preview will enable you to confirm that the metadata is being read and converted correctly before writing the new tags.
+
+To actually convert all of the tags and strip any legacy ID3v1 tag present from each file at the same time, you could use the command:
+
+ find . -name "*.mp3" -print0 | xargs -0 mid3iconv -e CP1251 --remove-v1
+
+The name of the original character set follows the **-e** option. Other legacy character sets that mid3iconv can convert to UTF-8 include:
+
+KOI8-R: Russian
+KOI8-U: Ukrainian
+
+GBK: Traditional Chinese
+GB2312: Simplified Chinese
+
+EUC-KR: Korean
+EUC-JP: Japanese
+
+CP1253: Greek
+CP1254: Turkish
+CP1255: Hebrew
+CP1256: Arabic
+
+Audio loudness
+--------------
+
+On file ingest, Airtime analyzes each Ogg Vorbis, MP3, AAC or FLAC file's loudness, and stores a *ReplayGain* value for that file in its database. At playout time, the ReplayGain value is provided to Liquidsoap so that gain can be automatically adjusted to provide an average output of -14 dBFS loudness (14 decibels below full scale). See for more details of ReplayGain.
+
+Because of this automatic gain adjustment, any files with average loudness higher than -14 dBFS will not sound louder than quieter files at playout time, but the lower crest factor in the louder files (their relatively low peak-to-average ratio) may be apparent in the output, making those files sound less dynamic. This may be an issue for contemporary popular music, which can average at -9 dBFS or louder before ReplayGain adjustment. (See for a detailed analysis of the problem).
+
+Your station's producers should therefore aim for 14dB between peak and average loudness to maintain the crest factor of their prepared material (also known as *DR14* on some dynamic range meters, such as the command-line DR14 T.meter available from ). If the producers are working to a different loudness standard, the ReplayGain modifier in Airtime's Stream Settings page can be adjusted to suit their material.
+
+Large transient peaks in otherwise quiet files should be avoided, to guard against the need for peak limiting when ReplayGain is applied to those quieter files.
+
+The **vorbisgain** command-line tool, available in the **vorbisgain** package in Debian/Ubuntu, can be used to indicate the ReplayGain of an individual Ogg Vorbis file before ingest into Airtime. (A similar tool for MP3 files is available in the **mp3gain** package in Debian/Ubuntu).
+
+Here is an example of a very quiet file where the use of ReplayGain would make the output more than 17dB louder:
+
+ $ vorbisgain -d Peter_Lawson-Three_Gymn.ogg
+ Analyzing files...
+
+ Gain | Peak | Scale | New Peak | Track
+ ----------+------+-------+----------+------
+ +17.39 dB | 4536 | 7.40 | 33585 | Peter_Lawson-Three_Gymn.ogg
+
+And here is an example of a very loud file, with lower crest factor, where the output will be more than 7dB quieter with ReplayGain applied:
+
+ $ vorbisgain -d Snoop_Dogg-Doggfather.ogg
+ Analyzing files...
+
+ Gain | Peak | Scale | New Peak | Track
+ ----------+-------+-------+----------+------
+ -7.86 dB | 36592 | 0.40 | 14804 | Snoop_Dogg-Doggfather.ogg
+
+In the output from vorbisgain, *Peak* is the maximum sample value of the file before any ReplayGain has been applied, where a value of 32,767 represents full scale when decoding to signed 16 bit samples. Note that lossy compressed files can have peaks greater than full scale, due to encoding artifacts. The *New Peak* value for the Snoop Dogg file may be relatively low due to the hard limiting used in the mastering of that piece of music.
+
+Silence in media files
+----------------------
+
+Before importing media, it is good practice to check for any silent sections in the media files. While Airtime compensates for leading and trailing silence with the use of automatic cue-in and cue-out points****, it may be preferable to trim these files to the intended length before upload. This is because media in the Airtime library could potentially be re-used in many different systems. **Audacity** is a cross-platform editor suitable for the task of trimming audio files, available from [http://audacity.sourceforge.net/](http://audacity.sourceforge.net "http://sourceforge.net/projects/dr14tmeter/")
+
+Very quiet introductions or over-long fades can also lead to apparent gaps in your broadcast playout. Some audio CDs feature a 'hidden track' at the end, which in fact uses a long period of silence within the final track, rather than an actual separate track on the disc. This means that CD encoding programs will often encode both the hidden material and the silence in the media file. For example, the track *Debra* from the CD *Midnite Vultures* by *Beck* includes hidden material preceded by seven minutes of silence, as shown in the screen shot from Audacity below.
+
+
+
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+Rights and royalties
+====================
+
+If you're new to broadcasting, or have not streamed your station online before, reading the following brief explanation of compensation rules for songwriters, musicians and other copyright holders may save you a great deal of trouble later.
+
+Independent music radio on the Internet has faced royalty demands from SoundExchange in the USA, and similar organizations in other territories. These organizations are usually membership societies or government-sanctioned national authorities which are intended to collect money from broadcasters to compensate copyright holders. The royalty collection societies require payment before you can stream just about any music released commercially to the general public — whether you make any money out of streaming, or not. It's not so much the percentage of revenue demanded, but that there are usually annual minimum fees to pay, which can hurt small stations disproportionately.
+
+For example, in the UK, the MCPS-PRS Limited Online Music Licence covers non-commercial music streaming by groups and individuals, as long as their gross revenue is less then £12,500 per year. The cost is on a sliding scale, up to £1,120 plus 20% tax per year for delivering up to 450,000 individual streams or serving 25,000 files; after that, you have to apply for a full MCPS-PRS Online Music Licence. That doesn't sound too bad at first, but 25,000 files per year works out at less than four downloads per hour for a round-the-clock website. This particular licence only covers publishing (songwriter) rights, not recording (record label and musician's performance) rights, so you have to negotiate an additional licence from Phonographic Performance Limited (PPL) to play music online, including digital recordings converted from commercially released CDs, vinyl or tape.
+
+Typically, you have to provide full statistical details to the royalty society of all music streamed or downloaded from your site, which can be onerous. Even if your radio station is mostly speech, there are many limitations in the small print of these music licences. For instance, you can't use music for promotional purposes, and you can't stream a whole opera, without negotiating separate licences. Weirdly, you are not allowed to play a piece of music in a 'derogatory context' to the writer or performers; no drummer jokes allowed, then.
+
+However, the biggest pitfall is that these MCPS-PRS licences for publishing rights only cover listeners in the UK. For recording rights, PPL is a member of the IFPI reciprocal scheme for webcasters, which means its licenses cover listeners in some European countries, Australia, New Zealand and a few other countries, but not listeners in the USA or Canada. So if your Internet station picked up a significant number of listeners in countries not covered by the MCPS-PRS licences or the IFPI reciprocal scheme, you would have to pay for similar music licences in those countries as well. It's no wonder that many not-for-profit radio stations have disappeared from the virtual airwaves over the last few years, since not having the right licences could leave the operator liable to legal action.
+
+If you want to go down the commercial music route, check out the and websites for UK licence details. In the USA, the website currently quotes a 500 dollar minimum annual fee for non-commercial webcasters, plus a usage fee above a certain number of listener hours, for the right to stream music recordings to listeners. See the websites of [ASCAP](http://www.ascap.com), [BMI](http://www.bmi.com) and [SESAC](http://www.sesac.com) for details of music publishing royalties payable by webcasters streaming to the USA.
+
+Free content streaming offers an alternative for DIY Internet radio. Since royalty collection societies like MCPS-PRS and SoundExchange can only represent the interests of their own members, it follows that if you are not a member, you can stream your own self-produced content without paying for their licences. If you state somewhere on your website that the stream is of your own copyrighted material, and is made available to the public under a specific licence, then no-one should misunderstand your intentions.
+
+You might be able to persuade other people to allow you to stream their content too, as long as they do not have a conflicting legal obligation, such as having previously joined one of the many royalty collection societies around the world. You can ask for permission to stream when website visitors upload their own music files to you via a HTML form, much as the likes of SoundCloud do. Or you can collect files licensed under an appropriate Creative Commons licence () or other free content licence.
+
+Explicit permission to stream on your particular server is always going to be the ideal, so think about your own terms and conditions before you accept files from third parties for streaming. How, for example, would you know if someone uploaded a file to your online radio station that unknown to you, had been ripped from a commercially released CD? That's the kind of thing that could get you in trouble with the licensing authorities and copyright holders.
+
diff --git a/docs/manual/smartphone-journalism/index.md b/docs/manual/smartphone-journalism/index.md
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+Smartphone journalism
+=====================
+
+Using an ordinary smartphone and Airtime, you can upload your audio reports to the studio library or put them straight on the air. Here's how...
+
+The basic voice recorder app on your phone may not have all the features you need for journalism, but there are plenty of more suitable recording apps available for both iPhone and Android. For instance, searching for 'ogg recorder' in the *Play Store* on an Android phone yields plenty of alternatives. The following example uses *RecForge Lite* because of its configurable recording formats. This free app is limited to three minutes per recording in Ogg and MP3 formats, but there is an unrestricted version available at very modest cost.
+
+
+
+In the Settings window of the app, set the recording format as Ogg Vorbis, 44.1KHz sample rate, mono. Disable automatic gain control to get a consistent recording level, rather than artificially boosting quiet sounds, which should result in less distortion. Under 'Limit folders browsing' give the app access to all of the SD Card storage of the phone.
+
+Back in the main recording window of RecForge, create a directory such as '*recordings*' under the */mnt/sdcard/media/audio/* path, which is normally used by the phone's music application. You can then make recordings using the big red button, watching the input level meter to ensure a good signal to noise ratio. The recorded files are automatically named with date and time stamps, but can be renamed in the app later by selecting the **Edit** feature. The latest recordings are listed in the main recording window; individual files can be auditioned by tapping on them.
+
+
+
+Open the web interface of your station's Airtime server in the phone's browser, log in with your username and password, and tap **Add Media** on Airtime's main menu. After tapping the **Add Files** button, the phone will offer a choice of file to upload. By tapping **Select music track** you can browse the */mnt/sdcard/media/audio/* directory on the SD card filesystem, without requiring the installation of a file manager app on the phone.
+
+
+
+Tap one of the date-and-time-stamped files listed from the '*recordings*' directory to select it, then tap the **OK** button. The files are credited to '*Unknown artist*' because they have not yet been tagged with creator metadata.
+
+
+
+After tapping the **Start upload** button on the Add Media page, the files are now copied into the remote Airtime library.
+
+
+
+You can now add the uploaded files directly to a forthcoming show, use them to create smart blocks or playlists in the **Library**, or edit their metadata to make them easier to find in searches later. One of the limitations of mobile recording is that it isn't always convenient to enter large amounts of text metadata when you're on the move. So a phone app that tagged audio recordings with creator, location and other relevant metadata would be very useful.
+
+Going live
+----------
+
+Mobile apps which enable you to stream directly into Airtime's live rebroadcast feature include **KoalaSan** for iOS: and **BroadcastMySelf** for Android:
+
+A live workflow does of course depend on a steady network connection between the phone and Airtime server. Because streaming media on a regular basis can use a lot of bandwidth, it is advisable to use WiFi rather than mobile data (3G/4G) whenever possible, especially when roaming across networks.
+
+KoalaSan can stream input from either the built-in microphone or the external jack of the iOS device. An example configuration for the **Settings** tab might be:
+
+ Name: Airtime
+ Server: airtime.example.com
+ Port: 8003
+ Mountpoint: mastermount
+ Stream name: Airtime
+ Description: A live stream to Airtime
+ Genre: News
+ Username: masterstreamer
+ Password: masterpassword
+ Codec: mp3
+ Bitrate: 128
+ Protocol: Icecast2
+ Stereo: off
+ AudioBus: off
+ Dump: on
+ Broadcast: on
+
+You can start streaming from the iOS device by tapping the start button in KoalaSan's **Stream!** tab.
+
+To configure BroadcastMySelf, tap the gears icon in the top left corner to enter the settings page, then tap **Output Settings**. This action opens the **Icecast Settings** page, where example settings could be:
+
+ Hostname
+ airtime.example.com
+
+ Port
+ 8003
+
+ Path
+ /mastermount
+
+ Username
+ masterstreamer
+
+ Password
+ masterpassword
+
+ MP3 Encoder Bitrate
+ 128 Kbit/s
+
+ Metadata Template
+ _song__artist
+
+ Streaming Buffer Size
+ MP3 buffer size X 8
+
+You may also wish to configure the **Tracks Folder** setting, which enables you to stream static files from the storage of the device. Depending on where you keep your audio files, this could be a path such as:
+
+ /mnt/sdcard/media/audio/
+
+To connect the Android device to the Airtime server, tap the square button in the lower middle of the main interface. The connection indicator on the button should turn blue, and the message *connected* should be shown. Push up the fader on the left to increase input level from the internal microphone, or push up the fader on the right and tap one of the named files in the upper right window to stream it. Tap either of the **LOCK** buttons to prevent the stream input level being changed accidentally.
+
+When the connection is made, Airtime output will fade from scheduled play to the stream from your mobile device. See the chapter *Stream settings* for more details of connection preferences.
+
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+Status
+======
+
+On the **System** menu, the **Status** page provides an overview of the health and resource usage of the services that make up an Airtime system. If all is well, you will only see green check mark icons in the **Status** column. This page also shows how much **Disk Space** you have used.
+
+
+
+If any of the check mark icons in the **Status** column have changed to a red warning sign, contact Sourcefabric support for assistance. Airtime will do its best to restart any failing services, but sometimes manual intervention may be required.
+
+If you have run out of storage space, an Airtime user with *admin* privileges could log in and delete media files that are no longer required from the **Library**. Alternatively, you could order more storage capacity from Sourcefabric.
+
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+Streams
+=======
+
+You can configure direct Icecast and SHOUTcast streams by clicking **Streams** on the **System** menu.
+
+At the top left of the **Stream Settings** page are global settings. The first checkbox enables the sending of **Icecast Vorbis Metadata** with direct streams. This setting is optional, because some media players have a bug which makes them disconnect from Ogg Vorbis streams when an Icecast server notifies the player that a new track is starting.
+
+The **Stream Label** radio button allows you to set the metadata that will be sent with direct streams; *Artist* and *Title*, *Show*, *Artist* and *Title*, or *Station name* and *Show name*.
+
+
+
+The **Off Air Metadata** field configures the text that will be sent to any configured streaming servers, and from there on to media players, when Airtime is not streaming any output.
+
+Below this is the **Enable Replay Gain** checkbox which, if checked, automatically adjusts Airtime's output level to an average of -14dBFS, based on prior analysis of the level of individual files in the **Library**. This feature helps guard against unwanted changes in Airtime's output level caused by the typical variation in average level of recordings made in different studios at different times. The correction value for each file can be viewed by enabling the ReplayGain column in the **Library**.
+
+If Replay Gain is enabled, output level can be adjusted up to 10dB louder or quieter from the reference level of -14dBFS by clicking and dragging the **Replay Gain Modifier** control. Increasing level too far is likely to result in clipping (distortion) since the output level is adjusted to be greater than that of the original files.
+
+Click the **Save** button on the right side of the page to save any changes that you have made to global settings.
+
+Input stream settings
+---------------------
+
+On the lower left side of the Stream Settings page you can configure remote live input streams from DJ programs such as **Mixxx** or **IDJC**, or smartphone applications used by broadcast journalists. Airtime supports two types of live input stream; the **Show Source**, which enables a specific person to stream in during their own show, and the **Master Source**, which can override the Show Source if necessary. If neither type of live input is available, Airtime will fall back to **Scheduled Play** (playlists, smart blocks, remote streams and files scheduled in Airtime, in advance of or during a show).
+
+The **Auto Switch Off** and **Auto Switch On** checkboxes enable playout to be switched automatically to the highest priority source whenever an authenticated input source disconnects from or connects to Airtime, respectively. The field **Switch Transition Fade** sets the length of the audio fade as scheduled playout is switched to a remote input source, and back.
+
+Each type of input stream requires a username and password before the remote broadcaster can connect to Airtime at the **Connection URL**. The **Master Username** and **Master Password** can be set in the Input Stream Settings box, while custom authentication for individual Show Sources can be set up in Airtime's schedule calendar. See the *Calendar* chapter for details.
+
+
+
+Switching input streams
+-----------------------
+
+In the Master Panel, available input source streams are shown with an orange line connecting the source to the switch, which you could think of like a patch cable connecting a source to a broadcast mixer. When that switch is active, another orange line connects the switch to the On Air indicator, like a patch cable connecting a mixer to a transmitter.
+
+
+
+If you have checked the **Auto Switch On** box in the Stream Settings page, the **Master Source** switch will move automatically to the active position, on the left, when an authenticated master source connects to Airtime. Otherwise, you can activate the switches manually by clicking the left side of each switch, or deactivate them by clicking the right side. The switches do not have to be dragged with the mouse, in the way that a switch on a hardware mixer would be pushed sideways. **Show Source** live input streams and **Scheduled Play** can be manually activated or deactivated in the same way.
+
+
+
+To force disconnection of a live remote source, for example when the remote input source has crashed and is no longer sending audio data, click the **X** icon to the left of the source name.
+
+Output stream settings
+----------------------
+
+On the right side of the page, you can configure up to three independent output streams with different bit rates or formats, and send these streams to different Icecast or SHOUTcast servers.
+
+To configure a stream, click the bar with the stream number to expand its box, and make sure **Enabled** is checked. Enter at least the streaming **Server** IP address or domain name, and **Port** details. The default port for Icecast and SHOUTcast servers is 8000.
+
+If the Airtime player widget on your public website detects that the listener is on a mobile device (iPad, iPhone, etc.) it will switch that listener to the stream marked with the **Mobile** checkbox. The configuration of these streams should be with a lower bitrate and more compatible stream types to be mobile friendly (MP3 and ACC are best supported across all devices).
+
+
+
+Then you are able to offer the most compatible stream to those listening on your **player**. Go to **Preferences** and **Player **to "Auto detect the most appropriate stream to use."
+
+ 
+
+Click **Additional Options** to expand a box in which you can enter the usernames, passwords and metadata to send to the streaming server. The default **Username** for Icecast servers is *source*, and if this the name in use on your streaming server, you can leave this field empty. The **Admin User** and **Admin Password** settings are optional, and are used to query the streaming server for audience numbers by the **Listener Stats** page on the **System** menu.
+
+You can also set the specific **Mount Point** that listeners will connect to here. Then click one of the **Save** buttons in the upper or lower right corner of the page to update the Airtime server's settings.
+
+
+
+Airtime supports output to Icecast in Ogg Vorbis, Ogg Opus, MP3 and AAC formats. When selecting a SHOUTcast server from the **Service Type** drop-down menu, you are restricted to using MP3 or AAC formats only, so the choice of Ogg Vorbis and Opus formats is greyed out in the **Stream Type** drop-down menu. The SHOUTcast username for stream sources is fixed, so you do not need to enter this value under **Additional Options**, but you will usually have to enter a password.
+
+
+
+Any connection problems between Liquidsoap and Icecast or SHOUTcast are shown on the Stream Settings page. For example, if you enter the wrong password, you will see an *Authentication Required* error message. To fix this, enter the correct password in the **Additional Options** box, and click the **Save** button. If the streaming server is down for any reason, or you have entered an incorrect **Server** name or **Port** number, you will see the message *Can not connect to the streaming server*.
+
+
+
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+Updating your own account
+-------------------------
+
+Users can update their own password, and their contact, language and time zone details, by clicking their username on the right side of the main menu bar, next to the **Logout** link.
+
+
+
+This action opens a separate, individual page which the user can update regardless of their **User Type** and access to the **System** menu. Click the **Save** button to update your account.
+
+
+
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diff --git a/mkdocs.yml b/mkdocs.yml
index 85554ac3f..30fd49dc8 100644
--- a/mkdocs.yml
+++ b/mkdocs.yml
@@ -14,6 +14,31 @@ extra_css:
pages:
- 'Home': index.md
- 'Features': features.md
+ - 'Manual':
+ - 'What is LibreTime': manual/index.md
+ - 'Rights and Royalties': manual/rights-and-royalties/index.md
+ - 'Using LibreTime':
+ - 'On air in 60 seconds!': 'manual/on-air-in-60-seconds/index.md'
+ - 'Getting started': manual/getting-started/index.md
+ - 'The System Menu':
+ - 'General': manual/preferences/index.md
+ - 'Users': manual/users/index.md
+ - 'Streams': manual/stream-settings/index.md
+ - 'Status': manual/status/index.md
+ - 'Listener stats': manual/listener-stats/index.md
+ - 'The main menus':
+ - 'Now playing': manual/now-playing/index.md
+ - 'Add media': manual/add-media/index.md
+ - 'Library': manual/library/index.md
+ - 'Calendar': manual/calendar/index.md
+ - 'History': manual/history/index.md
+ - 'Listen': manual/listen/index.md
+ - 'Help': manual/help/index.md
+ - 'Airtime in the studio':
+ - 'Preparing media for ingest': manual/preparing-media-for-ingest/index.md
+ - 'Live shows with Mixxx': manual/live-shows-with-mixxx/index.md
+ - 'Smartphone journalism': manual/smartphone-journalism/index.md
+ - 'About this manual': manual/about-this-manual/index.md
- 'Install': install.md
- 'Development':
- 'Testing': testing.md