[musicians-guide] Finished dealing with exclamation-marked issues
crantila
crantila at fedoraproject.org
Mon Aug 2 23:52:43 UTC 2010
commit e6061a9ae9a91c5c9a6de872dfc3d1bb81540133
Author: Christopher Antila <crantila at fedoraproject.org>
Date: Mon Aug 2 19:52:13 2010 -0400
Finished dealing with exclamation-marked issues
en-US/Ardour.xml | 56 +++++-------
en-US/Audacity.xml | 100 ++++++++++----------
en-US/LilyPond/LilyPond-orchestra.xml | 5 +-
en-US/LilyPond/LilyPond-syntax.xml | 54 ++++++++++-
.../SuperCollider-Basic_Programming.xml | 22 ++--
en-US/SuperCollider/SuperCollider-Composing.xml | 2 +-
en-US/SuperCollider/SuperCollider-Exporting.xml | 2 +-
en-US/SuperCollider/SuperCollider.xml | 2 -
8 files changed, 140 insertions(+), 103 deletions(-)
---
diff --git a/en-US/Ardour.xml b/en-US/Ardour.xml
index bf7f92d..db4d6ab 100644
--- a/en-US/Ardour.xml
+++ b/en-US/Ardour.xml
@@ -8,7 +8,7 @@
<title>Ardour</title>
<para>
- Somewhere, somehow, I'll need to tell my readers that the "Recording a Session" section is intended to be done as a contiuous work-flow, which then becomes the next large section. !!
+ Ardour is a feature-rich application designed for multi-track recording situations.
</para>
<section id="sect-Musicians_Guide-Ardour-Requirements_and_Installation">
@@ -40,22 +40,16 @@
<section id="sect-Musicians_Guide-Ardour-Recording_a_Session">
<title>Recording a Session</title>
+ <para>
+ Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that JACK must have the same sample rate and sample format settings each time you open a session.
+ </para>
<section id="sect-Musicians_Guide-Ardour-Recording-Running_Ardour">
<title>Running Ardour</title>
- <para>
- When you run Ardour...
- <orderedlist>
- <listitem><para>If JACK is not started, you will be prompted to start it.</para></listitem>
- <listitem><para>You will be prompted to either choose a location to save your new session, or to open an existing session.</para></listitem>
- <listitem><para>If you are creating a new session, (?? you can change the Advanced Options later ??)
- <itemizedlist>
- <listitem><para>The sample rate in JACK must be the same each time you open a session.</para></listitem>
- <listitem><para>You can also go 'Session > New' to create a new session.</para></listitem>
- </itemizedlist>
- </para></listitem>
- </orderedlist>
- </para>
+ <procedure>
+ <step><para>Ardour uses the JACK sound server. You should start JACK with QjackCtl before running Ardour, or Ardour will start JACK for you.</para></step>
+ <step><para>Ardour asks you to choose a location to save your new session. Ardour automatically creates a directory to store the session's files. You can also open an existing session.</para></step>
+ </procedure>
</section>
<section id="sect-Musicians_Guide-Ardour-Recording-Interface">
<title>The Interface</title>
@@ -63,7 +57,6 @@
This section explains some of the graphical interface components that are unique to Ardour. Components that are consistent through most DAWs are explained in [[User:Crantila/FSC/Recording/DAW_Common_Elements#User_Interface|the "Common Features" section]].
</para>
<para>
- !! Hidden bonus: link to the GIMP source image !!
<!-- [[File:Ardour-interface.xcf]] -->
[[File:Ardour-interface-editor_mixer.png|300px|Editor mixer]]
This image shoes the editor mixer, located at the left of Ardour's main window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the "Comments" and outgoing connections buttons.
@@ -271,8 +264,9 @@
<title>To Capture an Additional Part of Something That Is already Recorded</title>
<para>
A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the "Prepearing a Session" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. Ardour will record this on one track. Then, the trumpet soloist goes to the studio, and uses Ardour to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses Ardour to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, which is recorded onto a third track. The recording engineer uses Audacity's mixing
and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there.
-
- !! I'll probably also want to write about a "click track" in here. !!
+ </para>
+ <para>
+ Coordinating the timing of musicians across tracks recorded separately is difficult. A "click track" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix.
</para>
<para>
To do this:
@@ -377,13 +371,13 @@
<section id="sect-Musicians_Guide-Ardour-Tutorial_Files">
<title>Tutorial Files</title>
<para>
- !! Links to tutorial files !! These tutorial files represent the material required to create a finished version of a song called "Here Is How," written by Esther Wheaton. The song was released as part of her first album, "Not Legendary," and she has released the source files for this song under !! this licence (probably CC-BY-SA) !! For more information on the artist, please refer to her [http://www.myspace.com/estherwheaton MySpace page].
+ !!L!! Links to tutorial files !!L!! These tutorial files represent the material required to create a finished version of a song called "Here Is How," written by Esther Wheaton. The song was released as part of her first album, "Not Legendary," and she has released the source files for this song under !!I!! this licence (probably CC-BY-SA) !!I!! For more information on the artist, please refer to her [http://www.myspace.com/estherwheaton MySpace page].
</para>
<para>
The material presented for your use is a folder containing an Ardour file and the associated audio files required to start the tutorial. The tutorial itself comprises the following sections about editing, mixing, and mastering (or exporting). The program used to record the audio files split the left and right channels into separate files, so they are imported into Ardour as separate regions. Therefore, the setup is more complex than it would be if the song were originally recorded in Ardour, but this gives the opportunity to learn in greater detail about busses, creating and using the stereo image, and volume level adjustments.
</para>
<para>
- The unique setup also means that none of the audio regions are in the right place on the timeline, and most of them require extensive editing. This would be bad if the objective of the tutorial were to create a finished version of the song as quickly as possible; but the objective is to learn how to use Ardour, and this is almost guaranteed. !! what about the singers !!
+ The unique setup also means that none of the audio regions are in the right place on the timeline, and most of them require extensive editing. This would be bad if the objective of the tutorial were to create a finished version of the song as quickly as possible; but the objective is to learn how to use Ardour, and this is almost guaranteed.<!-- !! what about the singers !! (What was this supposed to mean?) -->
</para>
</section>
@@ -523,7 +517,7 @@
</orderedlist>
</para></listitem>
</orderedlist>
- !! table (SVG graphic?) of how the tracks/busses are connected !!
+ [[File:FMG-Ardour-Connections.png]]
</para>
</section>
<section id="sect-Musicians_Guide-Ardour-Editing-Edit_Groups">
@@ -764,9 +758,7 @@
<section id="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Marimba">
<title>Marimba Regions</title>
<para>
- All of the Marimba regions are continuous and correct. We will need to do some fancy work in the next section to coordinate and synchronize them.
-
- !! You discovered later that this is incorrect !!
+ The marimba regions do not need adjustment.
</para>
</section>
</section> <!-- Ends "Compare Multiple Recordings" Section -->
@@ -821,11 +813,9 @@
<listitem><para>Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized.</para></listitem>
<listitem><para>Remember to lock the "Marimba_2" region!</para></listitem>
<listitem><para>Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate.</para></listitem>
- <listitem><para>Now, move "Marimba_3" and "Marimba_4," so that they start at approximately 00:03:20.000, with "Marmiba_3" in the "marimba1" tracks, and "Marimba_4" in the "marimba2" tracks.</para></listitem>
- <listitem><para>They will eventually need to be aligned with each other, but we can't set them in place yet.</para></listitem>
- <listitem><para>The rest of the Marimba tracks can be removed from the canvas area.</para></listitem>
+ <listitem><para>Move the "Marimba_3" regions so they start at approximately 00:03:20.000, with "Marmiba_3" in the "marimba1" tracks. We will find a final alignment later.</para></listitem>
+ <listitem><para>Move the "Marimba_4" regions so they start at approximately the same time as the "Marimba_3" regions, but in the "marimba2" tracks. We will find a final alignment later.
</orderedlist>
- !! Deleted Marimba_4, Marimba_5, Marimba_6, M_7 here !!
</para>
</section>
<section id="sect-Musicians_Guide-Ardour-Editing-Arrange-Voice">
@@ -1109,24 +1099,24 @@
</itemizedlist>
</para>
<para>
- A higher number of bits per sample allows a greater amount of audio information to be stored per sample. A higher !!sample format!! also means larger audio files. You may find 8 bit samples to be insufficient, and virtually all hardware is capable of 16 bit samples. 24 bit samples are becoming increasingly useful, but they will only be worthwhile with high-end audio interfaces. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The "float" format stores samples in a different internal format, about as useful with current technology as 32 bit format. "Sample format" is sometimes called "bit rate."
+ A higher setting for !!L!!sample format!!L!! allows a greater amount of audio information to be stored per sample. 32 bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The "float" format stores samples in a different internal format, and you will need it only rarely.
</para>
<para>
- If you are expoorting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs.
+ If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs.
</para>
<para>
- "Sample endianness" is a difficult concept to understand, and it has no effect on the resulting audio - just the format. Unless you are using a rare PowerPC computer, choose the "Little-endian (Intel)" option.
+ "Sample endianness" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the "Little-endian (Intel)" option.
</para>
<para>
- A higher !!sample rate!! allows a greater amount of audio information to be stored, but increases the size of audio files.
- <itemizedlist>
+ A higher !!L!!sample rate!!L!! allows a greater amount of audio information to be stored, but increases the size of audio files.
+ <!-- <itemizedlist>
<listitem><para>22.05 kHz: A low sample rate, and possibly insufficient.</para></listitem>
<listitem><para>44.1 kHz: A good, standard sample rate. This is the sample rate of audio CDs, and it is always a safe choice.</para></listitem>
<listitem><para>48 kHz: Slightly higher quality than 44.1 kHz. Relatively well-supported, widely used for audio recording. This is the sample rate of audio in DVD videos.</para></listitem>
<listitem><para>88.2 kHz: Double the sample rate of audio CDs. Relatively uncommon.</para></listitem>
<listitem><para>96 kHz: Double the sample rate of 48 kHz, and rarely used but for recording.</para></listitem>
<listitem><para>192 kHz: Very high sample rate, and rarely used but for recording.</para></listitem>
- </itemizedlist>
+ </itemizedlist> -->
</para>
<para>
'''Convesion quality''' and '''dither type''' are not available options for the file formats offered in Fedora Linux.
diff --git a/en-US/Audacity.xml b/en-US/Audacity.xml
index ebdfdd2..5f8227b 100644
--- a/en-US/Audacity.xml
+++ b/en-US/Audacity.xml
@@ -7,28 +7,20 @@
<chapter id="chap-Musicians_Guide-Audacity">
<title>Audacity</title>
<para>
- There are no clearly-defined roles that '''Audacity''' can play. Once you have used the program for a while, and especially if you become familiar with other audio-processing software, you will begin to realize that certain situations are more or less suited for '''Audacity's''' capabilities than others.
- </para>
- <para>
- '''Audacity''' was designed to play the role of a simple, multi-functional, integrated audio editing program. It is less sophisticated but easier to learn than the other digital audio software in this Guide ('''Ardour''', '''Qtractor''', and '''Rosegarden'''). As such, it can be appropriately classified as an ''Audio Editing'' program.
- </para>
- <para>
- If you have ever used a consumer-market audio recorder, based on either flash memory or tape, then you can think of '''Audacity''' as being roughly the equivalent to those hardware devices. '''Audacity''' offers some additional features that make it more useful and flexible than those devices, and can therefore be used to do things which hardware recording and editing devices cannot.
+ Audacity is a high-quality sound recording application, designed to be easy to use. We recommend Audacity to most computer users, because it is simple but it has many features and capabilities. You do not need to understand advanced computer audio concepts before using Audacity. If you can connect your microphone to your computer, you know enough to use Audacity.
</para>
<section id="sect-Musicians_Guide-Audacity-Knowing_When_to_Use">
<title>Kowing When to Use Audacity</title>
-
- <!-- Decide how to deal with this section: linking or transcluding something else, or by re-writing -->
-
+ <!-- this is basically a re-casting of "sect-Musicians_Guide-Knowing_Which_DAW_to_Use" in "Digital_Audio_Workstations.xml" -->
<para>
- '''Audacity''' should be the program of choice for most people interested in recording audio because it is fast, flexible, and easy to use. It does not require advanced setup of audio hardware, or more than basic knowledge of audio recording techniques. It is capable of recording and producing audio files of the same quality as any other audio software. If you want to plug in the microphone, record, and export your work to show your friends, then '''Audacity''' is the program for you.
+ Audacity has a simple user interface, it is easy to use, and it has many advanced capabilities. Audacity does not require advanced knowledge of computers, music, or recording. Audacity is the right tool to use for editing a single audio file, and it can also coordinate multiple audio files simultaneously. Most users will prefer Audacity over the other applications in the Musicians' Guide which can record.
</para>
<para>
- '''Ardour''' is an advanced recording program, requiring some specialized knowledge of audio hardware and recording techniques, as well as more intensive setup of system hardware. '''Ardour''' also has basic ''MIDI'' capabilities. If you are using audio with more than two channels, recording multiple tracks in multiple takes, and looking for the most fine-grained control of levels, panning, and your hardware, then '''Ardour''' is the program for you. '''Ardour''' must be used with '''JACK''', and it is therefore recommended to also use a ''real-time enabled'' kernel (SEE SOME SECTION SECTION).
+ If you need to record quickly, and you do not have time to learn complicated software, you should use Audacity.
</para>
<para>
- '''Qtractor''' and '''Rosegarden''' are both best-suited for work as ''MIDI'' sequencers, although they are capable of working with audio in ways similar to '''Ardour'''. Since '''Audacity''' is not intended for use with ''MIDI'' signals, users looking for this capability are encouraged to investigate the differences between these two programs, and choose whichever suits their needs.
+ If you have professional-quality audio equipment, if you want to do highly advanced processing, or if you need fine-grained control over the recording, you should use Ardour, Qtractor, or Rosegarden. If you have not used any of these applications, we recommend learning Qtractor before Ardour or Rosegarden. Ardour and Rosegarden are more complicated than Qtractor, and you may not need their advanced features.
</para>
</section>
@@ -38,20 +30,32 @@
<section id="sect-Musicians_Guide-Audacity-Requirements">
<title>Requirements</title>
<para>
- In addition to '''Audacity's''' files, the program requires the installation of several other libraries and applications. These will be installed automatically with '''Audacity''', so there is no need to install them yourself.
- !! clear this up; focus on letting the reader know that the dependencies will automatically be taken care of !!
- </para>
+ Audacity uses several "libraries." Libraries are incomplete programs that add capabilities to other programs or applications. Libraries can be shared between programs. The libraries needed by Audacity will be installed automatically.
<para>
- The '''JACK Audio Connection Kit''' is required by '''Audacity''', even if you do not intend to use it. This software package is relatively large (at 11 MB), but is a requirement. If you have installed the Planet CCRMA repositories, and not already followed the '''JACK''' Guide's installation procedures, then you are strongly encouraged to do so immediately after installation of '''Audacity''', for security reasons. An explanation and instructions are available [[User:Crantila/FSC/Sound_Servers#Installing_JACK|here]].
+ The version of Audacity from the Fedora repository does not use an MP3 library. If you do not want to use MP3 files with Audacity, you should follow the !!L!!Standard Installation!!L!! instructions. If you want to use MP3 files with Audacity, you should follow the !!L!!MP3-Enabled Instructions!!L!!.
</para>
+ <!-- Information about JACK no longer required, since jack2 will be in Fedora 14 -->
</section>
<section id="sect-Musicians_Guide-Audacity-Installation">
- <title>Installation</title>
+ <title>Standard Installation</title>
+ <para>
+ This method installs Audacity from the Fedora repository. This version of Audacity does not use an MP3 library, and cannot process MP3 files.
+ <orderedlist>
+ <listitem><para>Use PackageKit or KPackageKit to install the <code>audacity</code> package. Or in a terminal, run this command: [pre]su -c 'yum install audacity'[/pre].</para></listitem>
+ <listitem><para>The proposed installation includes Audacity and all of the libraries that Audacity uses. Continue installing Audacity by reviewing and approving the proposed installation.</para></listitem>
+ <listitem><para>Audacity configures itself automatically, but it may not use the configuration you want. You need to test Audacity before recording, so that you know that it works. Follow the instructions in !!L!!here!!L!! to test Audacity.</para></listitem>
+ </orderedlist>
+ </para>
+ </section>
+ <section id="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">
+ <title></title>
<para>
+ This method installs Audacity from the RPM Fusion repository. This version of Audacity uses an MP3 library, and can process MP3 files. The Fedora Project cannot provide support for this version of Audacity because it is not prepared by Fedora.
<orderedlist>
- <listitem><para>Run [pre]su -c 'yum install audacity'[/pre] or use '''PackageKit''' or '''KPackageKit''' to install the <code>audacity</code> package.</para></listitem>
- <listitem><para>Review the requirements list, and approve it.</para></listitem>
- <listitem><para>It is a good idea to test '''Audacity''' before using it for a real recording. If you don't test it first, then '''Audacity''' may not record what you want. !! explain why !!</para></listitem>
+ <listitem><para>Run this command in a terminal: [pre]su -c 'yum localinstall --nogpgcheck http://download1.rpmfusion.org/free/fedora/rpmfusion-free-release-stable.noarch.rpm http://download1.rpmfusion.org/nonfree/fedora/rpmfusion-nonfree-release-stable.noarch.rpm'[/pre]</para></listitem>
+ <listitem><para>Use PackageKit or KPackageKit to install the <code>audacity-freeworld</code> package. Or in a terminal, run this command: [pre]su -c 'yum install audacity-freeworld'[/pre].</para></listitem>
+ <listitem><para>The proposed installation includes Audacity and all of the libraries that Audacity uses. Continue installing Audacity by reviewing and approving the proposed installation.</para></listitem>
+ <listitem><para>Audacity configures itself automatically, but it may not use the configuration you want. You need to test Audacity before recording, so that you know that it works. Follow the instructions in !!L!!here!!L!! to test Audacity.</para></listitem>
</orderedlist>
</para>
</section>
@@ -61,15 +65,15 @@
<orderedlist>
<listitem><para>Locate an audio file that you want to use to test the playback.
<itemizedlist>
- <listitem><para>Files in ''*.WAV'' or ''*.AIFF'' format will be the easiest to use at this point.</para></listitem>
+ <listitem><para>Files in WAV or AIFF format will be the easiest to use at this point.</para></listitem>
<listitem><para>The file should not be especially quiet; you should easily be able to know whether it is playing correctly.</para></listitem>
<listitem><para>The file can be located anywhere on your computer, as long as you have permission to read it.</para></listitem>
<listitem><para>If you do not already have a file, you can use <code>/usr/share/sounds/alsa/Noise.wav</code>, which is intended for test purposes like these.</para></listitem>
</itemizedlist>
</para></listitem>
- <listitem><para>After starting '''Audacity''', you can find and select a file by selecting ''File > Open''.</para></listitem>
+ <listitem><para>After starting Audacity, you can find and select a file by selecting ''File > Open''.</para></listitem>
<listitem><para>Play the file repeatedly, as needed. Adjust the volume levels on your speakers and audio interface, if necessary.</para></listitem>
- <listitem><para>If playback does not work as intended, first verify that your hardware is setup correctly. If it is, then verify that '''Audacity''' is setup correctly - see the !!"Configuring Audacity to Use Your Hardware" section!!.</para></listitem>
+ <listitem><para>If playback does not work as intended, first verify that your hardware is setup correctly. If it is, then verify that Audacity is setup correctly - see the !!L!!"Configuring Audacity to Use Your Hardware" section!!L!!.</para></listitem>
</orderedlist>
</para>
</section>
@@ -78,7 +82,7 @@
<para>
<orderedlist>
<listitem><para>Set up your microphone (or other audio source) so that it is connected to the input of the sound card you are using.</para></listitem>
- <listitem><para>Start '''Audacity''' with an empty session (no audio file is open).</para></listitem>
+ <listitem><para>Start Audacity with an empty session (no audio file is open).</para></listitem>
<listitem><para>In the toolbar, there should be two volume level meters.
<itemizedlist>
<listitem><para>During the playback test, one of them should display green bars.</para></listitem>
@@ -92,7 +96,7 @@
<listitem><para>Press the ''Record'' button on the toolbar to start a test recording.</para></listitem>
<listitem><para>After a few seconds, press the ''Stop'' button on the toolbar to stop the test recording.</para></listitem>
<listitem><para>Press ''Play'' on the toolbar to start playing the test recording. The playback should represent the sound that you wanted to record.</para></listitem>
- <listitem><para>If recording does not work as intended, first verify that your hardware is setup correctly. If it is, then verify that '''Audacity''' is setup correctly - see the "Configuring Audacity to Use Your Hardware" section.</para></listitem>
+ <listitem><para>If recording does not work as intended, first verify that your hardware is setup correctly. If it is, then verify that Audacity is setup correctly - see the "Configuring Audacity to Use Your Hardware" section.</para></listitem>
</orderedlist>
</para>
</section>
@@ -105,41 +109,41 @@
<section id="sect-Musicians_Guide-Audacity-First_Use">
<title>The First Time You Use Audacity</title>
<para>
- When you run '''Audacity''' for the first time, you will be asked to select a language to use for the interface. Also, if you have installed the Planet CCRMA repositories, and have not already followed the JACK Guide's installation procedures, then you are strongly encouraged to do so before using '''Audacity'''.
+ When you run Audacity for the first time, you will be asked to select a language to use for the interface. Also, if you have installed the Planet CCRMA repositories, and have not already followed the JACK Guide's installation procedures, then you are strongly encouraged to do so before using Audacity.
</para>
<para>
- Before recording for the first time, you are encouraged to test '''Audacity''' to ensure that it is set up correctly. SEE ABOVE.
+ Before recording for the first time, you are encouraged to test Audacity to ensure that it is set up correctly. SEE ABOVE.
</para>
</section>
<section id="sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">
<title>Configuring Audacity to Use Your Hardware</title>
<para>
- Especially in cases where your computer has multiple sound cards, or where a single sound card provides multiple, independent input and/or output busses (streams), '''Audacity''' may not correctly guess which busses you want to use.
+ Especially in cases where your computer has multiple sound cards, or where a single sound card provides multiple, independent input and/or output busses (streams), Audacity may not correctly guess which busses you want to use.
</para>
<para>
<orderedlist>
- <listitem><para>After starting '''Audacity''', select ''File > Preferences.''</para></listitem>
+ <listitem><para>After starting Audacity, select ''File > Preferences.''</para></listitem>
<listitem><para>Choose ''Devices'' from the left tab-list.</para></listitem>
- <listitem><para>The ''Host'' should usually be '''ALSA,''' unless you want to use '''Audacity''' with '''JACK'''.</para></listitem>
+ <listitem><para>The ''Host'' should usually be '''ALSA,''' unless you want to use Audacity with '''JACK'''.</para></listitem>
<listitem><para>The right setting is for both recording and playback devices is probably ''default.''</para></listitem>
<listitem><para>If ''default'' doesn't work, then the next best choice is any of the devices that have names ending with something like <code>(hw0:0)</code>
<itemizedlist>
<listitem><para>If you cannot make an educated guess, then try the devices systematically.</para></listitem>
- <listitem><para>This connects '''Audacity''' to your audio interface(s) in such a way that '''PulseAudio''' will not be able to use the devices at the same time, but it gives '''Audacity''' the greatest amount of control.</para></listitem>
+ <listitem><para>This connects Audacity to your audio interface(s) in such a way that '''PulseAudio''' will not be able to use the devices at the same time, but it gives Audacity the greatest amount of control.</para></listitem>
</itemizedlist>
</para></listitem>
- <listitem><para>As a last resort, you can use the ''pulse'' devices, which connects '''Audacity''' to '''PulseAudio.''' Because '''Audacity''' does not have direct control of the audio hardware in this case, it can lead to poor performance.</para></listitem>
+ <listitem><para>As a last resort, you can use the ''pulse'' devices, which connects Audacity to '''PulseAudio.''' Because Audacity does not have direct control of the audio hardware in this case, it can lead to poor performance.</para></listitem>
</orderedlist>
</para>
</section>
<section id="sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">
<title>Setting the Project's Sample Rate and Format</title>
<para>
- The related concepts of ''sample rate,'' and ''bit rate,'' are explained IN THIS CHAPTER (Sound Cards). '''Audacity''' refers to ''Bit Rate'' as ''Sample Format.''
+ The related concepts of ''sample rate,'' and ''bit rate,'' are explained IN THIS CHAPTER (Sound Cards). Audacity refers to ''Bit Rate'' as ''Sample Format.''
</para>
<para>
<orderedlist>
- <listitem><para>After starting '''Audacity''', select ''File > Preferences'' to open the ''Preferences'' menu.</para></listitem>
+ <listitem><para>After starting Audacity, select ''File > Preferences'' to open the ''Preferences'' menu.</para></listitem>
<listitem><para>Select ''Quality'' from the left tab-list.</para></listitem>
<listitem><para>Select the settings that you wish to use.
<itemizedlist>
@@ -164,7 +168,7 @@
<section id="sect-Musicians_Guide-Audacity-Tutorial">
<title>Tutorial: Creating a New Login Sound</title>
<para>
- To follow this portion of the tutorial, it is strongly recommended that you download the '''Audacity''' working-file, and begin doing the actions described, as instructed in the tutorial.
+ To follow this portion of the tutorial, it is strongly recommended that you download the Audacity working-file, and begin doing the actions described, as instructed in the tutorial.
</para>
<section id="sect-Musicians_Guide-Audacity-Tutorial-Files">
@@ -189,7 +193,7 @@
<section id="sect-Musicians_Guide-Audacity-Tutorial-Scenrario">
<title>Scenario</title>
<para>
- You were telling a friend about Fedora Linux's open-source audio programs, and you mentioned that '''Audacity''' makes it easy to create and edit audio files. The friend reminds you of their long-standing desire to create a new sound to be played whenever they log in to their computer, and suggests that '''Audacity''' can be used to make just a sound. You decide to work on it together.
+ You were telling a friend about Fedora Linux's open-source audio programs, and you mentioned that Audacity makes it easy to create and edit audio files. The friend reminds you of their long-standing desire to create a new sound to be played whenever they log in to their computer, and suggests that Audacity can be used to make just a sound. You decide to work on it together.
</para>
</section>
<section id="sect-Musicians_Guide-Audacity-Tutorial-Inspiration">
@@ -218,21 +222,21 @@
<listitem><para>You want to continue recording from the end of the already-recorded material.
<itemizedlist>
<listitem><para>Hold the '''[Shift]''' key as you click ''Record'' </para></listitem>
- <listitem><para>'''Audacity''' will continue recording in the last-selected track, from the end of all already-recorded audio.</para></listitem>
+ <listitem><para>Audacity will continue recording in the last-selected track, from the end of all already-recorded audio.</para></listitem>
</itemizedlist>
</para></listitem>
<listitem><para>You want to record something new to go along with what you already have, starting at the beginning.
<itemizedlist>
<listitem><para>Move the transport to the start: press '''[Home]''' on the keyboard or select ''Transport > Skip to Start.''</para></listitem>
- <listitem><para>The transport is the vertical line, which represents the place where '''Audacity''' will begin playback or recording if the ''Play'' or ''Record'' buttons are pressed.</para></listitem>
- <listitem><para>When you click ''Record'', '''Audacity''' will record onto a new track, and not erase what you have already recorded.</para></listitem>
+ <listitem><para>The transport is the vertical line, which represents the place where Audacity will begin playback or recording if the ''Play'' or ''Record'' buttons are pressed.</para></listitem>
+ <listitem><para>When you click ''Record'', Audacity will record onto a new track, and not erase what you have already recorded.</para></listitem>
</itemizedlist>
</para></listitem>
<listitem><para>You want to record something new to go along with what you already have, starting somewhere else.
<itemizedlist>
<listitem><para>Locate the place from where you want to continue recording.</para></listitem>
<listitem><para>Use the cursor to left-click on that place in an already-recorded segment.</para></listitem>
- <listitem><para>When you click ''Record'', '''Audacity''' will record onto a new track, and not erase what you have already recorded.</para></listitem>
+ <listitem><para>When you click ''Record'', Audacity will record onto a new track, and not erase what you have already recorded.</para></listitem>
</itemizedlist>
</para></listitem>
</orderedlist>
@@ -242,7 +246,7 @@
<title>Aligning Tracks</title>
<!-- Audacity-1 -->
<para>
- At this point in the tutorial, you can begin to follow along by modifying the '''Audacity''' working-file.
+ At this point in the tutorial, you can begin to follow along by modifying the Audacity working-file.
</para>
<para>
If you accidentally record something at the wrong time, or if you change your mind about when a track should be playing, you can easily move it.
@@ -282,7 +286,7 @@
</itemizedlist>
</para></listitem>
<listitem><para>You can use the ''Preview'' button to get an idea of the speed change that will happen with your selected settings.</para></listitem>
- <listitem><para>After clicking ''OK'', it may take a few seconds for '''Audacity''' to process and apply the changes you requested.</para></listitem>
+ <listitem><para>After clicking ''OK'', it may take a few seconds for Audacity to process and apply the changes you requested.</para></listitem>
</orderedlist>
</para>
</section>
@@ -344,9 +348,7 @@
<title>Add a Silly Effect: Using the Phaser</title>
<!-- Audacity-6 -->
<para>
- !! make it more clear that this is supposed to show the various effects and plug-ins available; consider explaining what the Phaser settings do !!
- !! maybe link to a page which explains what the most popular effects/plug-ins do !!
- The third track has a significant portion of audio after the end of every other track. You decide to experiment with a tool called ''Phaser'', so that you can make it more interesting.
+ The third track ends after the other tracks. Audacity has a wide variety of effects plugins, and you decide to experiment with one called "Phaser." The phaser adjusts reverberation, panning, and frequency to create a spinning-like sound.
<orderedlist>
<listitem><para>Select the portion of the third track which begins after the last occurrence of the second track, and goes to the end. There are a few different ways to do this.</para></listitem>
<listitem><para>Select ''Effect > Phaser'' and experiment with the settings. Use the ''Preview'' button to sample the outcome of your currently selected settings.</para></listitem>
@@ -363,7 +365,7 @@
<section id="sect-Musicians_Guide-Audacity-Tutorial-Further_Comments">
<title>Further Comments</title>
<para>
- If you followed along with the '''Audacity''' working-file, the chances are that your result is different from the completed model available above. There are a few reasons for this:
+ If you followed along with the Audacity working-file, the chances are that your result is different from the completed model available above. There are a few reasons for this:
<itemizedlist>
<listitem><para>The tutorial's instructions are intentionally vague. This allows you to easily see how they apply to different uses.</para></listitem>
<listitem><para>The tutorial's instructions allow room for creative experimentation. This allows you to create a different result from the same starting material, by harnessing your own creative power.</para></listitem>
@@ -377,10 +379,10 @@
<section id="sect-Musicians_Guide-Audacity-Saving_and_Exporting">
<title>Saving and Exporting</title>
<para>
- When you save a file in '''Audacity''' with the ''Save'' or ''Save As'' commands, it is saved in an Audacity-only format. This is good, because it allows '''Audacity''' to save extra information about the audio, which is impossible to store in conventional formats like ''OGG'', ''FLAC'', or even ''AIFF'' and ''WAV.''
+ When you save a file in Audacity with the ''Save'' or ''Save As'' commands, it is saved in an Audacity-only format. This is good, because it allows Audacity to save extra information about the audio, which is impossible to store in conventional formats like ''OGG'', ''FLAC'', or even ''AIFF'' and ''WAV.''
</para>
<para>
- If you want to share your audio work, or use it with another application, you will need to ''export'' it. This means that all of your tracks will be reduced to one track, and all of your channels will be reduced to stereo audio (with two channels). When you export, '''Audacity''' may warn you that your audio is being mixed into two channels. This will only affect the exported audio file, not the Audacity-format file.
+ If you want to share your audio work, or use it with another application, you will need to ''export'' it. This means that all of your tracks will be reduced to one track, and all of your channels will be reduced to stereo audio (with two channels). When you export, Audacity may warn you that your audio is being mixed into two channels. This will only affect the exported audio file, not the Audacity-format file.
</para>
<section id="sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">
diff --git a/en-US/LilyPond/LilyPond-orchestra.xml b/en-US/LilyPond/LilyPond-orchestra.xml
index 43b1217..28fe2c8 100644
--- a/en-US/LilyPond/LilyPond-orchestra.xml
+++ b/en-US/LilyPond/LilyPond-orchestra.xml
@@ -26,7 +26,6 @@
<section id="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">
<title>Starting the Score</title>
- <!-- !! You added an additional staff for the 2nd oboe, which isn't in some of these instructions !! -->
<procedure>
<step><para>'LilyPond > Setup New Score'</para></step>
<step><para>"Titles and Headers" Tab:</para>
@@ -141,7 +140,7 @@
</procedure>
</step>
<step><para>The timpani and trumpet/clarini parts have six further full measures of rest, before the measure with a fermata. The fermata can't be included in the multi-measure rest, so we'll treat it separately. Add <code>R2.*6 |</code> to the timpani and trumpets parts.</para></step>
- <step><para>The horns, bassoons, and second oboe have one further measure of rests, so add <code>R2. |</code> to those parts. We won't use <code>r2. |</code> because yadda.</para></step>
+ <step><para>The horns, bassoons, and second oboe have one further measure of rests, so add <code>R2. |</code> to those parts. Full-measure rests should always have a capital letter R. This tells LilyPond to properly center the rest in the bar.</para></step>
</procedure>
</section>
<section id="sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Wind_and_Timpani">
@@ -193,7 +192,7 @@
<section id="sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Oboe_and_Horn">
<title>Oboe and Horn Parts</title>
<procedure>
- <step><para>You now know enough to complete the oboe parts, and the flute part. Give it a try. Here are some tips, in case you get stuck:
+ <step><para>You can complete the oboe parts and the flute part. If you get stuck, read these tips.
<itemizedlist>
<listitem><para>You will need to adjust the range of the flute and oboe, to read <code>flute = \relative c'''</code> and <code>oboeI = \relative c'''</code></para></listitem>
<listitem><para>You may want to use [ and ] to control eighth-note beaming in the Oboe I and Flauto parts. You may not</para></listitem>
diff --git a/en-US/LilyPond/LilyPond-syntax.xml b/en-US/LilyPond/LilyPond-syntax.xml
index aa3f55c..def4068 100644
--- a/en-US/LilyPond/LilyPond-syntax.xml
+++ b/en-US/LilyPond/LilyPond-syntax.xml
@@ -7,9 +7,6 @@
<section id="sect-Musicians_Guide-LilyPond-Syntax">
<title>LilyPond Basics</title>
<para>
- !! Somewhere in here, I have to mention bar- and octave-check devices !!
- </para>
- <para>
At its heart, LilyPond's syntax is designed to offer the most flexibility through the most diverse musical conditions. Over time, you will realize that features which seem too complex at first are really a very powerful and simple way to solve complex problems that commercial programs can't attempt.
</para>
@@ -302,4 +299,55 @@
</section>
</section>
+ <section id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">
+ <title>Avoiding Errors</title>
+ <para>
+ The LilyPond syntax has two built-in symbols for helping to avoid musical errors. The octave-check symbol ensures that your notes are in the octave you intend. The bar-check symbols ensures that your barlines are where you intend.
+ </para>
+ <section id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Octave_Check_Symbol">
+ <title>Octave-Check Symbol</title>
+ <para>
+ The octave-check symbol compares a relative pitch with its absolute pitch equivalent. LilyPond prints a warning if the pitches do not match, then continues with the absolute pitch. You should correct the relative pitch when LilyPond prints a warning.
+ </para>
+ <para>
+ The octave-check symbols is <code>=</code>. The symbol appears after the note, and is followed by a comma (<code>,</code>), apostrophe (<code>'</code>), or neither, depending on the intended relative octave of the pitch.
+ </para>
+ <para>
+ Here is an example use of the octave-check symbol: [pre]c'='''[/pre]. In this example, the absolute pitch is <code>c'''</code>, which LilyPond knows because of the <code>c</code> at the left, and the <code>'''</code> after the <code>=</code> symbol.
+ </para>
+ <para>
+ How does this example work: [pre]c'=4[/pre]? There is a <code>4</code> after the <code>=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code>c</code>, which LilyPond knows because of the <code>c</code> to the left of the <code>=</code> symbol, and because there is no comma or apostrophe to the right of the <code>=</code> symbol. LilyPond understands the <code>4</code> as "quarter note."
+ </para>
+ <para>
+ You should use the octave-check symbol when you need it. New users use the octave-check symbol more frequently than experienced users.
+ </para>
+ </section>
+ <section id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol">
+ <title>Bar-Check Symbol</title>
+ <para>
+ The bar-check symbol tests whether a barline is printed at that point in the music. LilyPond prints a warning if the bar-check symbol does not line up with a barline in the score, then processes the rest of the file. You must correct an inputting mistake when LilyPond prints a warning.
+ </para>
+ <para>
+ The bar-check symbol is <code>|</code>. We recommend including a bar-check symbol at the end of every bar, and inputting only one bar on every line, so that errors are easier to find.
+ </para>
+ <para>
+ This example is correct, and will not trigger a warning:
+ [pre]\time 4/4
+ c4 c c c |
+ c4 c c c |[/pre]
+ There are four quarter-notes between each bar-check symbol, which is the right number of beats.
+ </para>
+ <para>
+ This example is incorrect, and will trigger a warning:
+ [pre]\time 4/4
+ c2 c c c |
+ c4 c c c | [/pre]
+ The first bar has four half-notes, which is twice as many beats as are allowed. LilyPond will print a warning at the first bar-check symbol.
+ </para>
+ <para>
+ You should always fix the first warning printed by LilyPond, then reprocess the file and fix remaining warnings. One mistake sometimes triggers more than one bar-check warning, and fixing the first warning also fixe
+ </para>
+ </section>
+ </section>
+
</section>
diff --git a/en-US/SuperCollider/SuperCollider-Basic_Programming.xml b/en-US/SuperCollider/SuperCollider-Basic_Programming.xml
index c5b6410..a2525d5 100644
--- a/en-US/SuperCollider/SuperCollider-Basic_Programming.xml
+++ b/en-US/SuperCollider/SuperCollider-Basic_Programming.xml
@@ -506,7 +506,7 @@
Object-oriented programming is more difficult to think about than imperative or functional. When using this paradigm (mode of thought), almost everything in SuperCollider is thought of as an abstract Object. In this way, it allows programmers to make compelling comparisons to the real world, where all tangible things are objects, and where it is not hard to conceive of most intangible things as objects, too. With object-oriented programming, computer science takes a break from mathematics, and is influenced by philosophy.
</para>
<para>
- !!! Include that Classes always start with an upper-case letter !!!
+ Class names always begin with an uppercase letter.
</para>
<para>
Anything can be represented as an Object - like a bicycle, for instance. Let's pretend that we have an Object called a Bicycle. We don't yet have a particular bicycle - just the abstract '''class''' containing everything that is true about all bicycles. If a Bicycle class exists in SuperCollider, you generate a specific instance like this: <code>var bike = Bicycle.new;</code> All SuperCollider Objects can be '''instantiated''' in this way: you get a specific Bicycle from the generic class, and you can then modify and work with your own Object as you choose. The specific properties associated with a particular instance of a class are called '''instance variables'''.
@@ -1200,7 +1200,7 @@
[pre]
testFunc.while( bodyFunc );
[/pre]
- The test condition, called <code>testFunc</code>, is a Function which returns a boolean value - either "true" or "false". The loop's body, called <code>bodyFunc</code>, is a Function which can do anything. The loop body function is not provided any arguments by the interpreter. You will have to use comparison operators and boolean expressions when writing the Function for the test condition. For information on how these work in SuperCollider, see !! THIS SECTION HERE !! (#Boolean_Operators and #Boolean_Expressions)?
+ The test condition, called <code>testFunc</code>, is a Function which returns a boolean value - either "true" or "false". The loop's body, called <code>bodyFunc</code>, is a Function which can do anything. The loop body function is not provided any arguments by the interpreter. You will have to use comparison operators and boolean expressions when writing the Function for the test condition. For information on how these work in SuperCollider, see !!L!! THIS SECTION HERE !!L!! (#Boolean_Operators and #Boolean_Expressions)?
</para>
<para>
The following three code blocks are equivalent:
@@ -1816,7 +1816,7 @@
<section id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen">
<title>"Out" UGen</title>
<para>
- The "Out" UGen is one of the bits of magic automatically taken care of by the interpreter. It routes an audio signal from another UGen into a specific output (actually, into a specific bus - explained in the !! BUSSES !! section).
+ The "Out" UGen is one of the bits of magic automatically taken care of by the interpreter. It routes an audio signal from another UGen into a specific output (actually, into a specific bus - explained in the !!L!! BUSSES !!L!! section).
</para>
<para>
The following examples have the same effect:
@@ -1827,7 +1827,7 @@
[pre]
{ Out.ar( 0, SinOsc.ar( freq:500, mul:0.2 ) ); }.play;
[/pre]
- The first argument to "Out.ar" is the bus number for where you want to place the second argument, which is either a UGen or a multi-channel Array of UGen's. If the second argument is an Array, then the first element is sent to the first argument's bus number, the second argument is sent to one bus number higher, the third to two bus numbers higher, and so on. This issues is explained fully in the !! BUSSES !! section, but here's what you need to know for now, working with stereo (two-channel) audio:
+ The first argument to "Out.ar" is the bus number for where you want to place the second argument, which is either a UGen or a multi-channel Array of UGen's. If the second argument is an Array, then the first element is sent to the first argument's bus number, the second argument is sent to one bus number higher, the third to two bus numbers higher, and so on. This issues is explained fully in the !!L!! BUSSES !!L!! section, but here's what you need to know for now, working with stereo (two-channel) audio:
<itemizedlist>
<listitem><para>If the second argument is a two-element Array, use bus number 0.</para></listitem>
<listitem><para>If the second argument is a single UGen, and you want it to be heard through the left channel, use bus number 0.</para></listitem>
@@ -1835,7 +1835,7 @@
</itemizedlist>
</para>
<para>
- If you're still struggling with exactly what the "Out" UGen does, think of it like this: when you create an audio-rate UGen, it starts creating an audio signal; the "Out" UGen effectively connects the audio-rate UGen into your audio interface's output port, so it can be heard through the speakers. In the !! BUSSES !! section, it becomes clear that there are, in fact, other useful places to connect an audio-rate UGen (through an effect processor, for example), and the "Out" UGen can help you do that.
+ If you're still struggling with exactly what the "Out" UGen does, think of it like this: when you create an audio-rate UGen, it starts creating an audio signal; the "Out" UGen effectively connects the audio-rate UGen into your audio interface's output port, so it can be heard through the speakers. In the !!L! BUSSES !!L!! section, it becomes clear that there are, in fact, other useful places to connect an audio-rate UGen (through an effect processor, for example), and the "Out" UGen can help you do that.
</para>
</section>
<section id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef">
@@ -1865,7 +1865,7 @@
[pre]
SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen ).send( nameOfServer );
[/pre]
- The <code>FunctionContainingOutUGen</code> is simply that - a Function that, when executed, returns an "Out" UGen (meaning that the "Out" UGen must be the last expression in the Function). The <code>nameOfSynthDef</code> should be a symbol (described !!BELOW!!), but can also be a string. The <code>nameOfServer</code> is a variable that represents the server to which you want to send the SynthDef's information; unless you know that you need to use a different variable for this, it's probably just the letter "s", which the interpreter automatically assigns to the default server.
+ The <code>FunctionContainingOutUGen</code> is simply that - a Function that, when executed, returns an "Out" UGen (meaning that the "Out" UGen must be the last expression in the Function). The <code>nameOfSynthDef</code> should be a symbol (described !!L!!BELOW!!L!!), but can also be a string. The <code>nameOfServer</code> is a variable that represents the server to which you want to send the SynthDef's information; unless you know that you need to use a different variable for this, it's probably just the letter "s", which the interpreter automatically assigns to the default server.
</para>
<para>
Here is a demonstration of both methods:
@@ -2223,7 +2223,7 @@
<section id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens">
<title>Out and In UGens</title>
<para>
- The "Out" UGen is discussed in the !!SynthDef section!!. What it does is take a signal and route it to the specified bus number. The "In" UGen performs a similar action: take a signal from a bus number, and make it available for use.
+ The "Out" UGen is discussed in the !!L!!SynthDef section!!L!!. What it does is take a signal and route it to the specified bus number. The "In" UGen performs a similar action: take a signal from a bus number, and make it available for use.
</para>
<para>
This is the syntax to use for "Out":
@@ -2342,7 +2342,7 @@
<listitem><para>SynthDef: These commands are straight-forward. They send the synthesis definitions to the server.</para></listitem>
<listitem><para><code>b = Bus.control( s );</code> : This should also be straight-forward. A single-channel control bus is created, and assigned to the pre-declared variable "b".</para></listitem>
<listitem><para>For synth creation, x is assigned a control-rate synth, while y and z are assigned audio-rate synths. Each synth is given the variable "b", which refers to our control-rate bus. "z" is also given an argument for \freqOffset, which makes its frequency 200 Hz higher than the synth assigned to "y".</para></listitem>
- <listitem><para>Don't worry about the "after" message for now. It's explained in !! the section about Ordering !!</para></listitem>
+ <listitem><para>Don't worry about the "after" message for now. It's explained in !!L!!the section about Ordering!!L!!</para></listitem>
</itemizedlist>
</para>
<section id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Global_Variables">
@@ -2495,7 +2495,7 @@
<section id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering">
<title>Ordering</title>
<para>
- Ordering is instructing the server to calculate in a particular order. The audio synthesized by the server takes the same form as any other digital audio: a series of !!samples!! are played at a particular speed (called !!sample rate!!), each with a set number of bits per sample (called !!bit rate!! or sample format). For each sample, the server calculates the signal at that point in a pre-determined order. Each sample is calculated from scratch, so if a particular UGen depends on the output of another UGen, the other one had better be calculated first.
+ Ordering is instructing the server to calculate in a particular order. The audio synthesized by the server takes the same form as any other digital audio: a series of samples are played at a particular speed (called !!L!!sample rate!!L!!), each with a set number of bits per sample (called !!L!!sample format!!L!!). For each sample, the server calculates the signal at that point in a pre-determined order. Each sample is calculated from scratch, so if a particular UGen depends on the output of another UGen, the other one had better be calculated first.
</para>
<para>
Consider the following example:
@@ -2515,7 +2515,7 @@
[/pre]
And it works just as it looks, too: the server creates a new synth, adds it before or after the synth represented by "variableHoldingSynth" (depending on which Function you use), and uses "nameOfSynthDef" and "ListOfArguments" just as in the "add" method.
- This example, from the !!"Bus"!! section, uses the "after" Function to ensure that the control-rate synth is calculated before the audio-rate synths that depend on it.
+ This example, from the !!L!!"Bus"!!L!! section, uses the "after" Function to ensure that the control-rate synth is calculated before the audio-rate synths that depend on it.
[pre]
( // execute first: prepare the server
var busAudioSynth =
@@ -2554,7 +2554,7 @@
In this case, the control-rate synth is created before the audio-rate synths - probably the easier way to think about it. Even so, it's possible to add them in the opposite order with a little extra thought.
</para>
<para>
- The other example from the !!"Bus"!! section used the "before" Function to ensure that the "pink noise" and "sine wave" UGen's were calculated before the "reverberation" UGen. Especially since these are all audio-rate UGen's, the server would not reasonably know which to calculate first, so you need to let it know.
+ The other example from the !!L!!"Bus"!!L!! section used the "before" Function to ensure that the "pink noise" and "sine wave" UGen's were calculated before the "reverberation" UGen. Especially since these are all audio-rate UGen's, the server would not reasonably know which to calculate first, so you need to let it know.
</para>
</section>
<section id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order">
diff --git a/en-US/SuperCollider/SuperCollider-Composing.xml b/en-US/SuperCollider/SuperCollider-Composing.xml
index 60e6efb..ec5431e 100644
--- a/en-US/SuperCollider/SuperCollider-Composing.xml
+++ b/en-US/SuperCollider/SuperCollider-Composing.xml
@@ -7,7 +7,7 @@
<section id="sect-Musicians_Guide-SuperCollider-Composing">
<title>Composing with SuperCollider</title>
<para>
- This section is an explanation of the creative thought-process that went into creating the SuperCollider composition that we've called "Method One," for which the source and exported audio files are available below in the !!"Included Files"!! section.
+ This section is an explanation of the creative thought-process that went into creating the SuperCollider composition that we've called "Method One," for which the source and exported audio files are available below in the !!L!!"Included Files"!!L!! section.
</para>
<para>
It is our hope that, in illustrating how we developed this composition from a single SinOsc command, you will learn about SuperCollider and its abilities, about how to be creative with SuperCollider, and how a simple idea can turn into something of greater and greater complexity.
diff --git a/en-US/SuperCollider/SuperCollider-Exporting.xml b/en-US/SuperCollider/SuperCollider-Exporting.xml
index e058926..88a6327 100644
--- a/en-US/SuperCollider/SuperCollider-Exporting.xml
+++ b/en-US/SuperCollider/SuperCollider-Exporting.xml
@@ -32,7 +32,7 @@
<step><para>Open Ardour with a new session, and set up the rulers and timeline as desired. Seconds is usually the most appropriate unit with which to measure a SuperCollider recording.</para></step>
<step><para>Add a stereo track (or however many channels desired), and rename it it "SuperCollider."</para></step>
<step><para>Use Ardour (the "Track/Bus Inspector" window) or QjackCtl to connect the "SuperCollider" track to SuperCollider's outputs.</para></step>
- <step><para>You'll want to make sure that the SuperCollider output is also connected to your audio interface, so that you can hear the program as you progress. This is an example of !!multi-plexing!!. Changes to your audio interface's volume control will not affect the recording in Ardour.</para></step>
+ <step><para>You'll want to make sure that the SuperCollider output is also connected to your audio interface, so that you can hear the program as you progress. This is an example of !!L!!multi-plexing!!L!!. Changes to your audio interface's volume control will not affect the recording in Ardour.</para></step>
<step><para>Arm the track and transport in Ardour. When you are ready, start the transport. It is not important to start SuperCollider as quickly as possible, since you can cut out the silence after the recording is made.</para></step>
<step><para>Switch to GEdit and play the program that you want to record. If you make a mistake while starting the program, that's okay. We can always edit the recording after it's recorded.</para></step>
<step><para>Listen to the recording as it goes along. Use QjackCtl to make sure that you don't encounter a buffer underrun, and Ardour to make sure that you don't record a distorted signal.</para></step>
diff --git a/en-US/SuperCollider/SuperCollider.xml b/en-US/SuperCollider/SuperCollider.xml
index 0252170..6755020 100644
--- a/en-US/SuperCollider/SuperCollider.xml
+++ b/en-US/SuperCollider/SuperCollider.xml
@@ -187,8 +187,6 @@
<itemizedlist>
<listitem><para>Find Help (Opens the SuperCollider help file for currently-selected object).</para></listitem>
<listitem><para>Find Definition (Opens the SuperCollider source file for the currently-selected object).</para></listitem>
- <listitem><para>Browse class (doesn't work for me?!?!?!?!)</para></listitem>
- <listitem><para>Inspect Object (doesn't work for me?!?!?!?!)</para></listitem>
<listitem><para>Restart Interpreter (Restarts the SuperCollider interpreter; also closes running servers, but does not restart them).</para></listitem>
<listitem><para>Clear output (Clears all output from the "SuperCollider output" pane).</para></listitem>
</itemizedlist>
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