[musicians-guide] Added all images
crantila
crantila at fedoraproject.org
Fri Aug 6 06:12:07 UTC 2010
commit a0ca24d25a7f9f902cb446881c6b7490efb92807
Author: Christopher Antila <crantila at fedoraproject.org>
Date: Fri Aug 6 02:10:41 2010 -0400
Added all images
en-US/Ardour.xml | 24 +-
en-US/Audio_Vocabulary.xml | 28 +-
en-US/Digital_Audio_Workstations.xml | 41 ++-
en-US/LilyPond/LilyPond-syntax.xml | 36 +-
en-US/Revision_History.xml | 3 +-
en-US/Sound_Cards.xml | 5 +-
en-US/images/.directory | 2 +
en-US/images/Ardour-Connections.png | Bin 0 -> 155557 bytes
en-US/images/Ardour-interface-editor_mixer.png | Bin 0 -> 243374 bytes
en-US/images/Ardour-interface-session_sidebar.png | Bin 0 -> 220443 bytes
en-US/images/Ardour-interface-toolbar.png | Bin 0 -> 230571 bytes
en-US/images/Ardour-red_peaks.png | Bin 0 -> 6438 bytes
en-US/images/Ardour-session_track_region.png | Bin 0 -> 162358 bytes
en-US/images/FMG-Audacity-Interface.png | Bin 0 -> 94433 bytes
en-US/images/FMG-Balance_and_Panning.png | Bin 0 -> 14414 bytes
en-US/images/FMG-PCM_from_Wikipedia.svg | 426 +++++++++++++++++++++
en-US/images/FMG-bus.png | Bin 0 -> 5900 bytes
en-US/images/FMG-master_sub_bus.png | Bin 0 -> 11428 bytes
en-US/images/FMG-routing_and_multiplexing.png | Bin 0 -> 182189 bytes
en-US/images/Qtractor-interface-clocks.png | Bin 0 -> 107813 bytes
en-US/images/Qtractor-interface-messages.png | Bin 0 -> 105416 bytes
en-US/images/Qtractor-interface-track.png | Bin 0 -> 124407 bytes
en-US/images/Qtractor-interface-track_info.png | Bin 0 -> 111873 bytes
en-US/images/Qtractor-interface-transport.png | Bin 0 -> 124334 bytes
24 files changed, 514 insertions(+), 51 deletions(-)
---
diff --git a/en-US/Ardour.xml b/en-US/Ardour.xml
index 255a39c..7c71cbf 100644
--- a/en-US/Ardour.xml
+++ b/en-US/Ardour.xml
@@ -55,20 +55,31 @@
</section>
<section id="sect-Musicians_Guide-Ardour-Recording-Interface">
<title>The Interface</title>
+ <!-- [[File:Ardour-interface.xcf]] -->
<para>
This section explains some of the graphical interface components that are unique to Ardour. Components that are consistent through most DAWs are explained in <xref linkend="sect-Musicians_Guide-DAW_Interface_Vocabulary" />.
</para>
+ <mediaobject>
+ <imageobject>
+ <!-- [[File:Ardour-interface-editor_mixer.png|300px|Editor mixer]]-->
+ <imagedata fileref="./images/Ardour-interface-editor_mixer.png" format="PNG" />
+ </imageobject>
+ </mediaobject>
<para>
- <!-- [[File:Ardour-interface.xcf]] -->
- [[File:Ardour-interface-editor_mixer.png|300px|Editor mixer]] !!P!!
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.
</para>
+ <mediaobject><imageobject>
+ <!-- [[File:Ardour-interface-session_sidebar.png|300px|Session sidebar]] -->
+ <imagedata fileref="./images/Ardour-interface-session_sidebar.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
- [[File:Ardour-interface-session_sidebar.png|300px|Session sidebar]] !!P!!
This image shows the session sidebar, located at the right of Ardour's main window. In this image, the "Regions" tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions.
</para>
+ <mediaobject><imageobject>
+ <!-- [[File:Ardour-interface-toolbar.png|300px|Toolbar]] -->
+ <imagedata fileref="./images/Ardour-interface-toolbar.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
- [[File:Ardour-interface-toolbar.png|300px|Toolbar]] !!P!!
This image shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the "snap mode" menu (currently set to "No Grid"); the "grid mode" menu (currently set to "Bars"); and then "edit point" menu (currently set to "Mouse"). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: Select/Edit Object, and Select/Edit Range.
</para>
</section>
@@ -167,8 +178,11 @@
</para>
<para>
It's easy to imagine how Ardour acts when it records silence. When Ardour thinks that a portion of audio is too loud, it outlines the wave-form representation in red, as shown in this image:
- [[Ardour-red_peaks.png|This audio is too loud.]] !!P!!
</para>
+ <mediaobject><imageobject>
+ <!-- [[File:Ardour-red_peaks.png|This audio is too loud.]] -->
+ <imagedata fileref="./images/Ardour-red_peaks.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
There are three simple strategies that can be used to change the input level of an audio signal:
<orderedlist>
diff --git a/en-US/Audio_Vocabulary.xml b/en-US/Audio_Vocabulary.xml
index fa22d0e..52be13d 100644
--- a/en-US/Audio_Vocabulary.xml
+++ b/en-US/Audio_Vocabulary.xml
@@ -19,12 +19,16 @@
<section id="sect-Musicians_Guide-Vocabulary-Bus">
<title>Busses, Master Bus, and Sub-Master Bus</title>
- <para>
+ <mediaobject><imageobject>
<!-- [[File:FMG-bus.xcf]] -->
+ <!-- [[File:FMG-bus.png|200px|How audio busses work.]] -->
+ <imagedata fileref="./images/FMG-bus.png" format="PNG" />
+ </imageobject></mediaobject>
+ <mediaobject><imageobject>
<!-- [[File:FMG-master_sub_bus.xcf]] -->
- [[File:FMG-bus.png|200px|How audio busses work.]] !!P!!
- [[File:FMG-master_sub_bus.png|200px|The relationship between the master bus and sub-master busses.]] !!P!!
- </para>
+ <!-- [[File:FMG-master_sub_bus.png|200px|The relationship between the master bus and sub-master busses.]] -->
+ <imagedata fileref="./images/FMG-master_sub_bus.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
An '''audio bus''' sends audio signals from one place to another. Many different signals can be inputted to a bus simultaneously, and many different devices or applications can read from a bus simultaneously. Signals inputted to a bus are mixed together, and cannot be separated after entering a bus. All devices or applications reading from a bus receive the same signal.
</para>
@@ -66,10 +70,11 @@
<section id="sect-Musicians_Guide-Vocabulary-Panning_and_Balance">
<title>Panning and Balance</title>
- <para>
- [[File:FMG-Balance_and_Panning.png|200px|left|The difference between adjusting panning and adjusting balance.]] !!P!!
+ <mediaobject><imageobject>
+ <!-- [[File:FMG-Balance_and_Panning.png|200px|left|The difference between adjusting panning and adjusting balance.]] -->
<!-- [[File:FMG-Balance_and_Panning.xcf]] -->
- </para>
+ <imagedata fileref="./images/FMG-Balance_and_Panning.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
'''Panning''' adjusts the portion of a channel's signal that is sent to each output channel. In a stereophonic (two-channel) setup, the two channels represent the "left" and the "right" speakers. Two channels of recorded audio are available in the DAW, and the default setup sends all of the "left" recorded channel to the "left" output channel, and all of the "right" recorded channel to the "right" output channel. Panning sends some of the left recorded channel's level to the right output channel, or some of the right recorded channel's level to the left output channel. Each recorded channel has a constant total output level, which is divided between the two output channels.
</para>
@@ -112,10 +117,11 @@
<section id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">
<title>Routing and Multiplexing</title>
- <para>
- [[File:FMG-routing_and_multiplexing.png|200px|left|Illustration of routing and multiplexing in the "Connections" window of the QjackCtl interface.]] !!P!!
- <!-- [[FMG-routing_and_multiplexing.xcf]] -->
- </para>
+ <mediaobject><imageobject>
+ <!-- [[File:FMG-routing_and_multiplexing.png|200px|left|Illustration of routing and multiplexing in the "Connections" window of the QjackCtl interface.]] -->
+ <!-- [[FMG-routing_and_multiplexing.xcf]] -->
+ <imagedata fileref="./images/FMG-routing_and_multiplexing.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
'''Routing''' audio transmits a signal from one place to another - between applications, between parts of applications, or between devices. On Linux systems, the JACK Audio Connection Kit is used for audio routing. JACK-aware applications (and PulseAudio ones, if so configured) provide inputs and outputs to the JACK server, depending on their configuration. The QjackCtl application can adjust the default connections. You can easily reroute the output of a program like FluidSynth so that it can be recorded by Ardour, for example, by using QjackCtl.
</para>
diff --git a/en-US/Digital_Audio_Workstations.xml b/en-US/Digital_Audio_Workstations.xml
index 9759a7a..7ac1ae2 100644
--- a/en-US/Digital_Audio_Workstations.xml
+++ b/en-US/Digital_Audio_Workstations.xml
@@ -129,10 +129,11 @@
<section id="sect-Musicians_Guide-Session_Track_Region">
<title>Relationship of Session, Track, and Region</title>
- <para>
- <!-- [[File:Ardour-session_track_region.xcf]] -->
- [[File:Ardour-session_track_region.png|200px|left|Session, Track, and Region in Ardour.]] !!P!!
- </para>
+ <mediaobject><imageobject>
+ <!-- [[File:Ardour-session_track_region.xcf]] -->
+ <!-- [[File:Ardour-session_track_region.png|200px|left|Session, Track, and Region in Ardour.]] -->
+ <imagedata fileref="./images/Ardour-session_track_region.png" format="PNG" />
+ </imageobject></mediaobject>
</section>
<section id="sect-Musicians_Guide-Transport_and_Playhead">
@@ -169,18 +170,22 @@
<section id="sect-Musicians_Guide-Messages_Pane">
<title>"Messages" Pane</title>
+ <mediaobject><imageobject>
+ <!-- [[File:Qtractor-interface-messages.png|300px|"Messages" Pane]] -->
+ <imagedata fileref="./images/Qtractor-interface-messages.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
- [[File:Qtractor-interface-messages.png|300px|"Messages" Pane]] !!P!!
-
- The "messages" pane, shown in the above diagram, contains messages produced by the DAW, and sometimes messages produced by software used by the DAW, such as JACK. If an error occurs, or if the DAW does not perform as expected, you should check the "messages" pane for information that may help you to get the desired results. The "messages" pane can also be used to determine whether JACK and the DAW were started successfully, with the options you prefer.
+ The "messages" pane, shown in the above diagram, contains messages produced by the DAW, and sometimes messages produced by software used by the DAW, such as JACK. If an error occurs, or if the DAW does not perform as expected, you should check the "messages" pane for information that may help you to get the desired results. The "messages" pane can also be used to determine whether JACK and the DAW were started successfully, with the options you prefer.
</para>
</section>
<section id="sect-Musicians_Guide-DAW_Clock">
<title>Clock</title>
+ <mediaobject><imageobject>
+ <!-- [[File:Qtractor-interface-clocks.png|300px|Clock]] -->
+ <imagedata fileref="./images/Qtractor-interface-clocks.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
- [[File:Qtractor-interface-clocks.png|300px|Clock]] !!P!!
-
The clock shows the current place in the file, as indicated by the transport. In the image, you can see that the transport is at the beginning of the session, so the clock indicates "0". This clock is configured to show time in minutes and seconds, so it is a "time clock." Other possible settings for clocks are to show BBT (bars, beats, and ticks - a "MIDI clock"), samples (a "sample clock"), or an SMPTE timecode (used for high-precision synchronization, usually with video - a "timecode clock"). Some DAWs allow the use of multiple clocks simultaneously.
</para>
<para>
@@ -190,9 +195,11 @@
<section id="sect-Musicians_Guide-Track_Info_Pane">
<title>"Track Info" Pane</title>
+ <mediaobject><imageobject>
+ <!-- [[File:Qtractor-interface-track_info.png|300px|"Track Info" Pane]] -->
+ <imagedata fileref="./images/Qtractor-interface-track_info.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
- [[File:Qtractor-interface-track_info.png|300px|"Track Info" Pane]] !!P!!
-
The "track info" pane contains information and settings for each track and bus in the session. Here, you can usually adjust settings like the routing of a track's or bus' input and output routing, the instrument, bank, program, and channel of MIDI tracks, and the three buttons shown on this image: "R" for "arm to record," "M" for "mute/silence track's output," and "S" for "solo mode," where only the selected tracks and busses are heard.
</para>
<para>
@@ -205,9 +212,11 @@
<section id="sect-Musicians_Guide-Track_Pane">
<title>"Track" Pane</title>
+ <mediaobject><imageobject>
+ <!-- [[File:Qtractor-interface-track.png|300px|"Track" Pane]] -->
+ <imagedata fileref="./images/Qtractor-interface-track.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
- [[File:Qtractor-interface-track.png|300px|"Track" Pane]] !!P!!
-
The "track" pane is the main workspace in a DAW. It shows regions (also called "clips") with a rough overview of the audio wave-form or MIDI notes, allows you to adjust the starting-time and length of regions, and also allows you to assign or re-assign a region to a track. The "track" pane shows the transport as a vertical line; in this image it is the left-most red line in the "track" pane.
</para>
<para>
@@ -217,9 +226,11 @@
<section id="sect-Musicians_Guide-DAW_Transport_Controls">
<title>Transport Controls</title>
+ <mediaobject><imageobject>
+ <!-- [[File:Qtractor-interface-transport.png|300px|Transport Controls]] -->
+ <imagedata fileref="./images/Qtractor-interface-transport.png" format="PNG" />
+ </imageobject></mediaobject>
<para>
- [[File:Qtractor-interface-transport.png|300px|Transport Controls]] !!P!!
-
The transport controls allow you to manipulate the transport in various ways. The shape of the buttons is somewhat standardized; a similar-looking button will usually perform the same function in all DAWs, as well as in consumer electronic devices like CD players and DVD players.
</para>
<para>
diff --git a/en-US/LilyPond/LilyPond-syntax.xml b/en-US/LilyPond/LilyPond-syntax.xml
index 6fa5c77..8d39162 100644
--- a/en-US/LilyPond/LilyPond-syntax.xml
+++ b/en-US/LilyPond/LilyPond-syntax.xml
@@ -7,7 +7,7 @@
<section id="sect-Musicians_Guide-LilyPond-Syntax">
<title>LilyPond Basics</title>
<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.
+ 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 cannot.
</para>
<section id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">
@@ -19,16 +19,16 @@
Although it can be changed, the default (and recommended) way to indicate "sharp" or "flat" is by using Dutch note-names: "-is" to indicate a sharp, and "-es" to indicate a flat. For example, the following command would create b-double-flat, b-flat, b, b-sharp, and b-double-sharp: [pre]beses bes b bis bisis[/pre] Getting used to these names happens quickly, and they take less time to input than the English alternative. Furthermore, with these names, it becomes possible to sing note-names when you are ear training!
</para>
<para>
- Pitch can be entered either absolutely, or relative to the preceding notes. Usually (for music without frequent large leaps) it is more convenient to use the "relative" mode. The symbols , and ' (comma and apostrophe) are used to indicate register.
+ Pitch can be entered either absolutely, or relative to the preceding notes. Usually (for music without frequent large leaps) it is more convenient to use the "relative" mode. The symbols <literal>,</literal> and <literal>'</literal> (comma and apostrophe) are used to indicate register.
</para>
<para>
- When entering pitches absolutely, the register is indicated mostly as in the Helmholtz system (see <citetitle>Helmholtz Pitch Notation (Wikipedia)</citetitle> at <ulink url="http://en.wikipedia.org/wiki/Helmholtz_pitch_notation" />: octaves begin on the pitch "C," and end eleven tones higher on the pitch "B." The octave below "middle C" (octave 3 in scientific pitch notation - see <citetitle>Scientific Pitch Notation (Wikipedia)</citetitle> at <ulink url="http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation" />) has no commas or apostrophes. The octave starting on "middle C" (octave 4) has one apostrophe; the octave above that (octave 5) has two apostrophes, and so on. Octave 2 (starting two octaves below "middle C") has one comma, the octave below that has two commas, and so on. It is usually not necessary to understand how to use this in LilyPond, or to be able to use it quickly, because most scores will use "relative mode."
+ When entering absolute pitches, the register is indicated mostly as in the Helmholtz system (see <citetitle>Helmholtz Pitch Notation (Wikipedia)</citetitle> at <ulink url="http://en.wikipedia.org/wiki/Helmholtz_pitch_notation" />: octaves begin on the pitch "C," and end eleven tones higher on the pitch "B." The octave below "middle C" (octave 3 in scientific pitch notation - see <citetitle>Scientific Pitch Notation (Wikipedia)</citetitle> at <ulink url="http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation" />) has no commas or apostrophes. The octave starting on "middle C" (octave 4) has one apostrophe; the octave above that (octave 5) has two apostrophes, and so on. Octave 2 (starting two octaves below "middle C") has one comma, the octave below that has two commas, and so on. It is usually not necessary to understand how to use this in LilyPond, or to be able to use it quickly, because most scores will use "relative mode."
</para>
<para>
When entering pitches relative to the previous one, the register is still indicated with commas or apostrophes, but usually none are needed. When using this input mode, the octave of each note is guessed based on the octave of the previous note. Think of it this way: the next note will always be placed so it produces the smaller interval. For example, after a C, an E could be placed as a major third, a minor sixth, a major tenth, a minor thirteenth, and so on. In relative mode, LilyPond will always choose the "major third" option. If you wanted LilyPond to notate the E so that it's a minor sixth, you would tell LilyPond with a comma appended: <code>c e,</code> so that LilyPond knows what you want. It's the same case if you were to input <code>c aes</code> (meaning "C then A-flat"): the A-flat will be notated so that it is a major third from the C; if you wanted LilyPond to notate it so that the A-flat is a minor sixth higher than the C, you would need to append an a
postrophe: <code>c aes'</code>
</para>
<para>
- The only possible ambiguity with this is with a tritone. LilyPond solves this by not recognizing "tritones," per se, and thinking of them as "augmented fourth" or "diminished fifth." Unless instructed otherwise (with a comma or apostrophe), LilyPond will always notate the interval as an augmented fourth.
+ The only possible ambiguity with this method is with a tritone. LilyPond solves this by not recognizing "tritones," per se, and thinking of them as "augmented fourth" or "diminished fifth." Unless instructed otherwise (with a comma or apostrophe), LilyPond will always notate the interval as an augmented fourth.
</para>
<para>
You must always indicate a sharp or flat, even if it is already in a key signature. This ultimately helps to reduce the number of errors.
@@ -41,13 +41,13 @@
<section id="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">
<title>Numbers Are Durations</title>
<para>
- A number appended to a letter is understood by LilyPond to indicate that note's note-value. A ''whole note'' is indicated with a 1, and all other notes with a number representing the fraction of a whole note that they occupy: ''half notes'' are 2 (like "1/'''2''' note"); ''quarter notes'' are 4 (like "1/'''4''' note"); ''eighth notes'' are 8 (like "1/'''8''' note") and so on.
+ A number appended to a letter is understood by LilyPond to indicate that particular note's note-value. A ''whole note'' is indicated with a 1, and all other durations are indicated with a number representing the fraction of a whole note that they occupy: ''half notes'' are 2 (like "1/'''2''' note"); ''quarter notes'' are 4 (like "1/'''4''' note"); ''eighth notes'' are 8 (like "1/'''8''' note") and so on.
</para>
<para>
- To add a "dot" to a note (thereby increasing its length by one half), you simply include a period after the number. For example, <code>e4.</code> means "dotted quarter note on E."
+ To add a "dot" to a note (thereby increasing its length by one half), you simply include a period after the number. For example, <literal>e4.</literal> means "dotted quarter note on E."
</para>
<para>
- To add a "tie" from one note to the next (thereby continuing its duration across a measure-line), add a tilde ( ~ ) after the pitch and duration.
+ To add a "tie" from one note to the next (thereby continuing its duration across a measure-line), add a tilde ( <literal>~</literal> ) after the pitch and duration.
</para>
<para>
After indicating a duration, it is assumed that all subsequent notes have the same duration, until indicated otherwise.
@@ -65,22 +65,22 @@
<para>
These are some of the most common articulation marks, which use a position indicator unless specified otherwise:
<itemizedlist>
- <listitem><para>( to begin a slur (no position indicator)</para></listitem>
- <listitem><para>) to end a slur (no position indicator)</para></listitem>
- <listitem><para>~ to begin a tie (which needs no end; no position indicator)</para></listitem>
- <listitem><para>. for a ''staccato'' mark</para></listitem>
- <listitem><para>> for an ''accent''</para></listitem>
- <listitem><para>- for a ''tenuto'' mark</para></listitem>
- <listitem><para>^ for a ''marcato'' mark</para></listitem>
- <listitem><para>_ for a ''portato'' mark (dot and line)</para></listitem>
+ <listitem><para><literal>(</literal> to begin a slur (no position indicator)</para></listitem>
+ <listitem><para><literal>)</literal> to end a slur (no position indicator)</para></listitem>
+ <listitem><para><literal>~</literal> to begin a tie (which needs no end; no position indicator)</para></listitem>
+ <listitem><para><literal>.</literal> for a "staccato" mark</para></listitem>
+ <listitem><para><literal>></literal> for an "accent"</para></listitem>
+ <listitem><para><literal>-</literal> for a "tenuto" mark</para></listitem>
+ <listitem><para><literal>^</literal> for a "marcato" mark</para></listitem>
+ <listitem><para><literal>_</literal> for a "portato" mark (dot and line)</para></listitem>
</itemizedlist>
</para>
<para>
There are three position indicators:
<itemizedlist>
- <listitem><para>- which means to put the articulation mark wherever LilyPond thinks it makes sense</para></listitem>
- <listitem><para>_ which means to put the articulation mark ''below'' the note-head</para></listitem>
- <listitem><para>^ which means to put the articulation mark ''above'' the note-head</para></listitem>
+ <listitem><para><literal>-</literal> which means to put the articulation mark wherever LilyPond thinks it makes sense</para></listitem>
+ <listitem><para><literal>_</literal> which means to put the articulation mark ''below'' the note-head</para></listitem>
+ <listitem><para><literal>^</literal> which means to put the articulation mark ''above'' the note-head</para></listitem>
</itemizedlist>
These position indicators will sometimes result in notes like: <code>g4--</code>, <code>g4__</code>, and <code>g4^^</code>, but although this may look incorrect, it is perfectly acceptable.
</para>
diff --git a/en-US/Revision_History.xml b/en-US/Revision_History.xml
index 6969f27..f3b2d90 100644
--- a/en-US/Revision_History.xml
+++ b/en-US/Revision_History.xml
@@ -79,7 +79,8 @@
</author>
<revdescription>
<simplelist>
- <member></member>
+ <member>Added all external and internal links.</member>
+ <member>Added all images.</member>
</simplelist>
</revdescription>
</revision>
diff --git a/en-US/Sound_Cards.xml b/en-US/Sound_Cards.xml
index 1eb4b09..2748571 100644
--- a/en-US/Sound_Cards.xml
+++ b/en-US/Sound_Cards.xml
@@ -89,8 +89,11 @@
<section id="sect-Musicians_Guide-Sample_Rate_and_Sample_Format">
<title>Sample, Sample Rate, Sample Format, and Bit Rate</title>
+ <mediaobject><imageobject>
+ <!-- [https://fedoraproject.org/wiki/File:FMG-PCM_from_Wikipedia.svg] -->
+ <imagedata fileref="./images/FMG-PCM_from_Wikipedia.svg" format="SVG" />
+ </imageobject></mediaobject>
<para>
- !!P!! [https://fedoraproject.org/wiki/File:FMG-PCM_from_Wikipedia.svg]
The primary function of audio interfaces is to convert signals between analog and digital formats. As mentioned earlier, real sound has an infinite possibility of pitches, volumes, and durations. Computers cannot process infinite information, so the audio signal must be converted before they can use it. This diagram above illustrates the situation. The red wave shape represents a sound wave that could be produced by a singer or an acoustic instrument. The gradual change of the red wave cannot be processed by a computer, which must use an approximation, represented by the gray, shaded area of the diagram. This diagram is an exaggerated example, and it does not represent a real recording.
</para>
<para>
diff --git a/en-US/images/.directory b/en-US/images/.directory
new file mode 100644
index 0000000..f02049e
--- /dev/null
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