[web] updated pre and changed some images to inline
crantila
crantila at fedoraproject.org
Sat Aug 7 05:53:27 UTC 2010
commit 77827f0ecda0499fd22f3d69e508dacd359c8a27
Author: Christopher Antila <crantila at fedoraproject.org>
Date: Sat Aug 7 01:52:47 2010 -0400
updated pre and changed some images to inline
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public_html/en-US/toc.html | 8 +-
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186 files changed, 4681 insertions(+), 937 deletions(-)
---
diff --git a/fedoradocs.db b/fedoradocs.db
index 1aa43a4..2af1e7e 100644
Binary files a/fedoradocs.db and b/fedoradocs.db differ
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diff --git a/public_html/bs-BA/toc.html b/public_html/bs-BA/toc.html
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index 3aeb969..392f5dd 100644
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@@ -171,7 +171,7 @@
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diff --git a/public_html/da-DK/toc.html b/public_html/da-DK/toc.html
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@@ -126,7 +126,7 @@
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+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/de-DE/toc.html b/public_html/de-DE/toc.html
index d60dafa..6c35dc2 100644
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@@ -641,7 +641,7 @@
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+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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@@ -801,7 +801,7 @@
<a class="type" href="../en-US/./Fedora/10/html-single/Security_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/10/html-single/Security_Guide/index.html';return false;">html-single</a>
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+ <a class="type" href="../en-US/./Fedora/10/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/10/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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@@ -956,7 +956,7 @@
<a class="type" href="../en-US/./Fedora/8/html-single/Installation_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/8/html-single/Installation_Guide/index.html';return false;">html-single</a>
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+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
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@@ -1071,7 +1071,7 @@
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+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/el-GR/toc.html b/public_html/el-GR/toc.html
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@@ -126,7 +126,7 @@
<a class="type" href="../en-US/./Fedora/13/html-single/Accessibility_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/13/html-single/Accessibility_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
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@@ -641,7 +641,7 @@
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+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Musicians' Guide</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><meta name="description" content="This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage." /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedora
project.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><div xml:lang="en-US" class="book" title="Musicians' Guide" id="id1442924" lang="en-US"><div class="titlepage"><div><div class="producttitle" font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><span class="productname">Fedora Draft Documentation</span> <span class="productnumber"></span></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h1 id="id1442924" class="title">Musicians' Guide</h1></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h2 class="subtitle">A guide to Fedora Linux's audio creation and music capabilities.</h2></div><p class="edition">Edition 14.0.1</p><div font-family
="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h3 class="corpauthor">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Musicians' Guide</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><meta name="description" content="This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage." /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedora
project.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><div xml:lang="en-US" class="book" title="Musicians' Guide" id="id1408149" lang="en-US"><div class="titlepage"><div><div class="producttitle" font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><span class="productname">Fedora Draft Documentation</span> <span class="productnumber"></span></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h1 id="id1408149" class="title">Musicians' Guide</h1></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h2 class="subtitle">A guide to Fedora Linux's audio creation and music capabilities.</h2></div><p class="edition">Edition 14.0.1</p><div font-family
="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h3 class="corpauthor">
<span class="inlinemediaobject"><object data="Common_Content/images/title_logo.svg" type="image/svg+xml"> </object></span>
- </h3></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div xml:lang="en-US" class="authorgroup" lang="en-US"><div class="author"><h3 class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></h3><div class="affiliation"><span class="orgname">Fedora Documentation Project</span></div><code class="email"><a class="email" href="mailto:crantila at fedoraproject.org">crantila at fedoraproject.org</a></code></div></div></div><hr /><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div id="id686816" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
+ </h3></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div xml:lang="en-US" class="authorgroup" lang="en-US"><div class="author"><h3 class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></h3><div class="affiliation"><span class="orgname">Fedora Documentation Project</span></div><code class="email"><a class="email" href="mailto:crantila at fedoraproject.org">crantila at fedoraproject.org</a></code></div></div></div><hr /><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div id="id659353" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
Copyright <span class="trademark"></span>© 2010 Red Hat, Inc. and others.
</div><div class="para">
The text of and illustrations in this document are licensed by Red Hat under a Creative Commons Attribution–Share Alike 3.0 Unported license ("CC-BY-SA"). An explanation of CC-BY-SA is available at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>. The original authors of this document, and Red Hat, designate the Fedora Project as the "Attribution Party" for purposes of CC-BY-SA. In accordance with CC-BY-SA, if you distribute this document or an adaptation of it, you must provide the URL for the original version.
@@ -23,11 +23,11 @@
All other trademarks are the property of their respective owners.
</div></div></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div class="abstract" title="Abstract"><h6>Abstract</h6><div class="para">
This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage.
- </div></div></div></div><hr /></div><div class="toc"><dl><dt><span class="preface"><a href="#pref-Musicians_Guide-Preface">Preface</a></span></dt><dd><dl><dt><span class="section"><a href="#id662457">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="#id828167">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="#id656580">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="#id754409">1.3. Notes and Warnings</a></span></dt></dl></dd><dt><span class="section"><a href="#id787270">2. We Need Feedback!</a></span></dt></dl></dd><dt><span class="part"><a href="#id1003763">I. Linux Audio Basics</a></span></dt><dd><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Sound_Cards">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a hr
ef="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><
dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect
-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-How_Computers_Deal_with_Hardware">2. Software for Soun
d Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_JACK">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl"
>2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Real_Time_and_Low_Latency">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Real_Time_Linux_Kernel">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt>
</dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Planet_CCRMA_at_Home">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd>
<dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Setting Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Preventing a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="part"><a href="#id728379">II. Audio and Music Software</a></span></dt><dd><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Audacity">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="sec
tion"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-A
udacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity
-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="sec
tion"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a
href="#chap-Musicians_Guide-Digital_Audio_Workstations">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Stages_of_Recording">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mixing">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mastering">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Record_Mix_Master_More_Info">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Session"
>6.3.1. Session</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_and_Multitrack">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Region_Clip_Segment">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Session_Track_Region">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Transport_and_Playhead">6.3.5. Transport and Playhead</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Automation">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</a></span></dt><dt
><span class="section"><a href="#sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Ardour">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</
a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running Ardour</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to Ardour</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span
class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing JACK Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class=
"section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a><
/span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do
</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Qtractor">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Music
ians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a><
/span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt
><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span cl
ass="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a>
</span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Rosegarden">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Require
ments</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a hr
ef="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-FluidSynth">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-
Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></s
pan></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration
</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><
dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span cl
ass="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4
. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented SuperCollider</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians
_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Ba
sic_Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Design
ing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Gui
de-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-LilyPond">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitche
s</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterp
oint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#
sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_G
uide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Frescobaldi">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Co
nfiguration">13.3. Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Solfege">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"
><a href="#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Instruments">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-External_Programs">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Interface">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Practise">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Sound_Setu
p">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Exercise_Types">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Supplementary_References">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-L
istening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Singing_Exercises">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Configure_Yourself_Exericses">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Rhythm_Exercises">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Dictation_Exercises">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Harmonic_Progressions">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Intonation">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="appendix"><a href="#appe-Musicians_Guide-Revision_History">A. Revision History</a></span></dt><dt><span class="index"><a href="#id649534">Index</a></span></dt></dl></div><div xm
l:lang="en-US" class="preface" title="Preface" id="pref-Musicians_Guide-Preface" lang="en-US"><div class="titlepage"><div><div><h1 class="title">Preface</h1></div></div></div><div xml:lang="en-US" class="section" title="1. Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id662457">1. Document Conventions</h2></div></div></div><div class="para">
+ </div></div></div></div><hr /></div><div class="toc"><dl><dt><span class="preface"><a href="#pref-Musicians_Guide-Preface">Preface</a></span></dt><dd><dl><dt><span class="section"><a href="#id622776">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="#id772433">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="#id969668">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="#id747654">1.3. Notes and Warnings</a></span></dt></dl></dd><dt><span class="section"><a href="#id690734">2. We Need Feedback!</a></span></dt></dl></dd><dt><span class="part"><a href="#id2320298">I. Linux Audio Basics</a></span></dt><dd><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Sound_Cards">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a hr
ef="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><
dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect
-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-How_Computers_Deal_with_Hardware">2. Software for Soun
d Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_JACK">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl"
>2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Real_Time_and_Low_Latency">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Real_Time_Linux_Kernel">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt>
</dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Planet_CCRMA_at_Home">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd>
<dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="part"><a href="#id804400">II. Audio and Music Software</a></span></dt><dd><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Audacity">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><
a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity
-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutori
al">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><
a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#
chap-Musicians_Guide-Digital_Audio_Workstations">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Stages_of_Recording">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mixing">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mastering">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Record_Mix_Master_More_Info">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Session">6.3.1.
Session</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_and_Multitrack">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Region_Clip_Segment">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Session_Track_Region">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Transport_and_Playhead">6.3.5. Transport and Playhead</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Automation">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</a></span></dt><dt><span
class="section"><a href="#sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Ardour">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></spa
n></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Se
tting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="s
ection"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><
span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt>
<dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Qtractor">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide
-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="
section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span
class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="se
ction"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span cla
ss="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Rosegarden">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a><
/span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians
_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-FluidSynth">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundF
ont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="sect
ion"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><
dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="sec
tion"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a
href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Exec
uting Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sou
nd-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><d
t><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a h
ref="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining t
he Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-LilyPond">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span clas
s="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a>
</span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Forma
tting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1.
Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Frescobaldi">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Ea
sier</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Configuration">13.3. Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Solfege">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gu
ide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Instruments">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-External_Programs">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Interface">14.2.4. Interface<
/a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Practise">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Sound_Setup">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Exercise_Types">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Supplementary_References">14.3.4. Supplementary References</
a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Singing_Exercises">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Configure_Yourself_Exericses">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Rhythm_Exercises">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Dictation_Exercises">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Harmonic_Progressions">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Intonation">14.4.7. Intonation</a></span></dt
></dl></dd></dl></dd></dl></dd><dt><span class="appendix"><a href="#appe-Musicians_Guide-Revision_History">A. Revision History</a></span></dt><dt><span class="index"><a href="#id2337597">Index</a></span></dt></dl></div><div xml:lang="en-US" class="preface" title="Preface" id="pref-Musicians_Guide-Preface" lang="en-US"><div class="titlepage"><div><div><h1 class="title">Preface</h1></div></div></div><div xml:lang="en-US" class="section" title="1. Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id622776">1. Document Conventions</h2></div></div></div><div class="para">
This manual uses several conventions to highlight certain words and phrases and draw attention to specific pieces of information.
</div><div class="para">
In PDF and paper editions, this manual uses typefaces drawn from the <a href="https://fedorahosted.org/liberation-fonts/">Liberation Fonts</a> set. The Liberation Fonts set is also used in HTML editions if the set is installed on your system. If not, alternative but equivalent typefaces are displayed. Note: Red Hat Enterprise Linux 5 and later includes the Liberation Fonts set by default.
- </div><div class="section" title="1.1. Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id828167">1.1. Typographic Conventions</h3></div></div></div><div class="para">
+ </div><div class="section" title="1.1. Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id772433">1.1. Typographic Conventions</h3></div></div></div><div class="para">
Four typographic conventions are used to call attention to specific words and phrases. These conventions, and the circumstances they apply to, are as follows.
</div><div class="para">
<code class="literal">Mono-spaced Bold</code>
@@ -75,7 +75,7 @@
Aside from standard usage for presenting the title of a work, italics denotes the first use of a new and important term. For example:
</div><div class="blockquote"><blockquote class="blockquote"><div class="para">
Publican is a <em class="firstterm">DocBook</em> publishing system.
- </div></blockquote></div></div><div class="section" title="1.2. Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id656580">1.2. Pull-quote Conventions</h3></div></div></div><div class="para">
+ </div></blockquote></div></div><div class="section" title="1.2. Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id969668">1.2. Pull-quote Conventions</h3></div></div></div><div class="para">
Terminal output and source code listings are set off visually from the surrounding text.
</div><div class="para">
Output sent to a terminal is set in <code class="computeroutput">mono-spaced roman</code> and presented thus:
@@ -100,7 +100,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
System.<span class="perl_Function">out</span>.<span class="perl_Function">println</span>(<span class="perl_String">"Echo.echo('Hello') = "</span> + echo.<span class="perl_Function">echo</span>(<span class="perl_String">"Hello"</span>));
}
-}</pre></div><div class="section" title="1.3. Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id754409">1.3. Notes and Warnings</h3></div></div></div><div class="para">
+}</pre></div><div class="section" title="1.3. Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id747654">1.3. Notes and Warnings</h3></div></div></div><div class="para">
Finally, we use three visual styles to draw attention to information that might otherwise be overlooked.
</div><div class="note"><h2>Note</h2><div class="para">
Notes are tips, shortcuts or alternative approaches to the task at hand. Ignoring a note should have no negative consequences, but you might miss out on a trick that makes your life easier.
@@ -108,15 +108,15 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
Important boxes detail things that are easily missed: configuration changes that only apply to the current session, or services that need restarting before an update will apply. Ignoring a box labeled 'Important' won't cause data loss but may cause irritation and frustration.
</div></div><div class="warning"><h2>Warning</h2><div class="para">
Warnings should not be ignored. Ignoring warnings will most likely cause data loss.
- </div></div></div></div><div xml:lang="en-US" class="section" title="2. We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id787270">2. We Need Feedback!</h2></div></div></div><a id="id787282" class="indexterm"></a><div class="para">
+ </div></div></div></div><div xml:lang="en-US" class="section" title="2. We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id690734">2. We Need Feedback!</h2></div></div></div><a id="id788262" class="indexterm"></a><div class="para">
If you find a typographical error in this manual, or if you have thought of a way to make this manual better, we would love to hear from you! Please submit a report in Bugzilla: <a href="http://bugzilla.redhat.com/bugzilla/">http://bugzilla.redhat.com/bugzilla/</a> against the product <span class="application"><strong>Fedora Documentation.</strong></span>
</div><div class="para">
When submitting a bug report, be sure to mention the manual's identifier: <em class="citetitle">musicians-guide</em>
</div><div class="para">
If you have a suggestion for improving the documentation, try to be as specific as possible when describing it. If you have found an error, please include the section number and some of the surrounding text so we can find it easily.
- </div></div></div><div class="part" title="Part I. Linux Audio Basics" id="id1003763"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part I. Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id1003770"><div></div><div class="para">
+ </div></div></div><div class="part" title="Part I. Linux Audio Basics" id="id2320298"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part I. Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id2320304"><div></div><div class="para">
asdf
- </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Sound_Cards">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_
Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rat
e_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Mus
icians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-How_Computers_Deal_with_Hardware">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</a></span></dt></dl></d
d><dt><span class="section"><a href="#sect-Musicians_Guide-Using_JACK">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Real_Time_and_Low_Latency">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Real_Ti
me_Linux_Kernel">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Planet_CCRMA_at_Home">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability
">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Setting Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Preventing a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></div></div><div xml:lang="en-US" class="chapter" title="Chapter 1. Sound Cards and Digital Audio" id="chap-Musicians_Guide-Sound_Cards" lang="en-US"><div class="ti
tlepage"><div><div><h2 class="title">Chapter 1. Sound Cards and Digital Audio</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection<
/a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><
span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing
and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></div><div class="para">
+ </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Sound_Cards">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_
Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rat
e_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Mus
icians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-How_Computers_Deal_with_Hardware">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers_Section">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-JACK">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Servers-Phonon">2.2.3. Phonon</a></span></dt></dl></d
d><dt><span class="section"><a href="#sect-Musicians_Guide-Using_JACK">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Using_QjackCtl">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Real_Time_and_Low_Latency">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Processor_Scheduling">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Real_Ti
me_Linux_Kernel">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Hard_and_Soft_Real_Time">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Planet_CCRMA_at_Home">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability
">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></div></div><div xml:lang="en-US" class="chapter" title="Chapter 1. Sound Cards and Digital Audio" id="chap-Musicians_Guide-Sound_Cards" lang="en-US"><div class="titlepage
"><div><div><h2 class="title">Chapter 1. Sound Cards and Digital Audio</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sound_Card_Connections">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-PCI_Sound_Cards">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FireWire_Sound_Cards">1.2.3. External FireWire Connection</a></sp
an></dt><dt><span class="section"><a href="#sect-Musicians_Guide-USB_Sound_Cards">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Choose_Sound_Card_Connection">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Format">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Sample_Rate">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_Rate">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span cl
ass="section"><a href="#chap-Musicians_Guide-Vocabulary">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Level">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Panning_and_Balance">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Time">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Mu
ltiplexing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></div><div class="para">
This chapter introduces the technical vocabulary used for computer audio hardware.
</div><div class="section" title="1.1. Types of Sound Cards" id="sect-Musicians_Guide-What_Sound_Cards_Are"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</h2></div></div></div><div class="para">
A sound card is a hardware device which allows a computer to process sound. Most sound cards are either audio interfaces or MIDI interfaces. These two kinds of interfaces are described below.
@@ -184,7 +184,11 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
These terms are used in many different audio contexts. Understanding them is important to knowing how to operate audio equipment in general, whether computer-based or not.
</div><div class="section" title="1.4.1. MIDI Sequencer" id="sect-Musicians_Guide-Vocabulary-MIDI_Sequencer"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</h3></div></div></div><div class="para">
A '''sequencer''' is a device or software program that produces signals that a synthesizer turns into sound. You can also use a sequencer to arrange MIDI signals into music. The Musicians' Guide covers two digital audio workstations (DAWs) that are primarily MIDI sequencers, Qtractor and Rosegarden. All three DAWs in this guide use MIDI signals to control other devices or effects.
- </div></div><div class="section" title="1.4.2. Busses, Master Bus, and Sub-Master Bus" id="sect-Musicians_Guide-Vocabulary-Bus"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</h3></div></div></div><div class="mediaobject"><img src="./images/FMG-bus.png" width="444" /></div><div class="mediaobject"><img src="./images/FMG-master_sub_bus.png" width="444" /></div><div class="para">
+ </div></div><div class="section" title="1.4.2. Busses, Master Bus, and Sub-Master Bus" id="sect-Musicians_Guide-Vocabulary-Bus"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/FMG-bus.png" width="444" /></span>
+ <span class="inlinemediaobject"><img src="./images/FMG-master_sub_bus.png" width="444" /></span>
+
+ </div><div class="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.
</div><div class="para">
All audio routed out of a program passes through the master bus. The '''master bus''' combines all audio tracks, allowing for final level adjustments and simpler mastering. The primary purpose of the master bus is to mix all of the tracks into two channels.
@@ -243,8 +247,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
Time is represented horizontally, where the leftmost point is the beginning of the session (zero, regardless of the unit of measurement), and the rightmost point is some distance after the end of the session.
</div></div><div class="section" title="1.4.6. Synchronization" id="sect-Musicians_Guide-Vocabulary-Synchronization"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Synchronization">1.4.6. Synchronization</h3></div></div></div><div class="para">
'''Synchronization''' is synchronizing the operation of multiple tools, frequently the movement of the transport. Synchronization also controls automation across applications and devices. MIDI signals are usually used for synchronization.
- </div></div><div class="section" title="1.4.7. Routing and Multiplexing" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</h3></div></div></div><div class="mediaobject"><img src="./images/FMG-routing_and_multiplexing.png" width="444" /></div><div class="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.
+ </div></div><div class="section" title="1.4.7. Routing and Multiplexing" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/FMG-routing_and_multiplexing.png" width="444" /></span>
+ '''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.
</div><div class="para">
'''Multiplexing''' allows you to connect multiple devices and applications to a single input or output. QjackCtl allows you to easily perform multiplexing. This may not seem important, but remember that only one connection is possible with a physical device like an audio interface. Before computers were used for music production, multiplexing required physical devices to split or combine the signals.
</div></div><div class="section" title="1.4.8. Multichannel Audio" id="sect-Musicians_Guide-Multichannel_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Multichannel_Audio">1.4.8. Multichannel Audio</h3></div></div></div><div class="para">
@@ -271,7 +276,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Ensure that you have installed the Planet CCRMA at Home repositories. For instructions, refer to <a class="xref" href="#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a>.
</div></li><li class="listitem"><div class="para">
- Use PackageKit or KPackageKit to install the "jack-audio-connection-kit" and "qjackctl" packages, or run the following command in a terminal: [pre]sudo -c 'yum install jack-audio-connection-kit qjackctl'[/pre]
+ Use <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span> to install the <span class="package">jack-audio-connection-kit</span> and <span class="package">qjackctl</span> packages.
</div></li><li class="listitem"><div class="para">
Review and approve the installation, making sure that it completes correctly.
</div></li><li class="listitem"><div class="para">
@@ -293,11 +298,17 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
The default installation automatically enables real-time priority to be requested by any user or process. This is undesirable, so we will edit it.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Open a terminal, and run the following command: [pre]sudo -c 'gedit /etc/security/limits.conf'[/pre]
+ Open a terminal, and run the following command: <code class="command">sudo -c 'gedit /etc/security/limits.conf'</code>
</div></li><li class="listitem"><div class="para">
Be careful! You're editing this important system file as the root user!
</div></li><li class="listitem"><div class="para">
- Edit the last lines, so that they read:[pre] @audio - rtprio 99 @audio - memlock 4194304 @audio - nice -10[/pre]
+ Edit the last lines, so that they read:
+<pre class="programlisting">
+ at audio - rtprio 99
+ at audio - memlock 4194304
+ at audio - nice -10
+</pre>
+
</div></li></ol></div>
</div></li></ol></div>
@@ -308,7 +319,14 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 2"><div class="para">
Execute this command: "cat /proc/asound/cards".
</div></li><li class="step" title="Step 3"><div class="para">
- The <code class="code">cat</code> program outputs a list of sound cards in your computer, which looks similar to this list: [pre] 0 [SB ]: HDA-Intel - HDA ATI SB HDA ATI SB at 0xf7ff4000 irq 16 1 [MobilePre ]: USB-Audio - MobilePre M Audio MobilePre at usb-0000:00:13.0-2 [/pre] In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <code class="code">SB</code> and <code class="code">MobilePre</code>.
+ The <code class="code">cat</code> program outputs a list of sound cards in your computer, which looks similar to this list:
+<pre class="programlisting">
+0 [SB ]: HDA-Intel - HDA ATI SB
+ HDA ATI SB at 0xf7ff4000 irq 16
+1 [MobilePre ]: USB-Audio - MobilePre
+ M Audio MobilePre at usb-0000:00:13.0-2
+</pre>
+ In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <code class="code">SB</code> and <code class="code">MobilePre</code>.
</div></li><li class="step" title="Step 4"><div class="para">
Identify the name of the sound card that you want to use. If you do not see your sound card in the list outputted by <code class="code">cat</code>, then your Fedora does not detect it.
</div></li><li class="step" title="Step 5"><div class="para">
@@ -326,7 +344,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="2.3.3. Integrating PulseAudio with JACK" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</h3></div></div></div><div class="para">
The default configuration of PulseAudio yields control of the audio equipment to JACK when the JACK server starts. PulseAudio will not be able to receive input or send output of any audio signals on the audio interface used by JACK. This is fine for occasional users of JACK, but many users will want to use JACK and PulseAudio simultaneously, or switch between the two frequently. The following instructions will configure PulseAudio so that its input and output is routed through JACK.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Use PackageKit or KPackageKit to install the "pulseaudio-module-jack" package, or in a terminal run the following command: [pre]su -c 'yum install pulseaudio-module-jack'[/pre]
+ Use PackageKit or KPackageKit to install the <span class="package">pulseaudio-module-jack</span> package.
</div></li><li class="listitem"><div class="para">
Approve the installation and ensure that it is carried out properly.
</div></li><li class="listitem"><div class="para">
@@ -334,12 +352,17 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Be careful! You will be editing an important system file as the root user!
</div></li><li class="listitem"><div class="para">
- Run the following command in a terminal: [pre]sudo -c 'gedit /etc/pulse/default.pa'[/pre]
+ Run the following command in a terminal: <code class="command">sudo -c 'gedit /etc/pulse/default.pa'</code>
</div></li><li class="listitem"><div class="para">
- Add the following lines, underneath the line that says [code]#load-module module-alsa-sink[/code]: [pre]load-module module-jack-sink load-module module-jack-source[/pre]
+ Add the following lines, underneath the line that says [code]#load-module module-alsa-sink[/code]:
+<pre class="programlisting">
+load-module module-jack-sink
+load-module module-jack-source
+</pre>
+
</div></li></ol></div>
</div></li><li class="listitem"><div class="para">
- Restart PulseAudio by running the following command in a terminal: [pre]killall pulseaudio[/pre] It will start again automatically.
+ Restart PulseAudio by running the following command in a terminal: <code class="command">killall pulseaudio</code> PulseAudio restarts automatically.
</div></li><li class="listitem"><div class="para">
Confirm that this has worked by opening QjackCtl. The display should confirm that JACK is "Active".
</div></li><li class="listitem"><div class="para">
@@ -383,12 +406,12 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Install the Planet CCRMA at Home repositories by following the instructions in <a class="xref" href="#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a>.
</div></li><li class="listitem"><div class="para">
- Run the following command in a terminal: [pre]su -c 'yum install planetccrma-core'[/pre] Note that this is a meta-package, which does not install anything by itself, but causes a number of other packages to be installed, which will themselves perform the desired installation and optimization.
+ Run the following command in a terminal: <code class="command">su -c 'yum install planetccrma-core'</code> Note that this is a meta-package, which does not install anything by itself, but causes a number of other packages to be installed, which will themselves perform the desired installation and optimization.
</div></li><li class="listitem"><div class="para">
Shut down and reboot your computer, to test the new kernel. If you decided to modify your GRUB configuration, be sure that you leave a non-real-time kernel available for use.
</div></li></ol></div>
- </div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 4. Planet CCRMA at Home" id="chap-Musicians_Guide-Planet_CCRMA_at_Home" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 4. Planet CCRMA at Home</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd
><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Setting Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Preventing a Package from Being Updated</a></span></dt></dl></dd></dl></div><div class="section" title="4.1. About Planet CCRMA at Home" id="sect-Musicians_Guide-What_Is_Planet_CCRMA"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</h2></div></div></div><div class="para">
+ </div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 4. Planet CCRMA at Home" id="chap-Musicians_Guide-Planet_CCRMA_at_Home" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 4. Planet CCRMA at Home</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Security_and_Stability">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Best_Practices">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd
><dt><span class="section"><a href="#sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></div><div class="section" title="4.1. About Planet CCRMA at Home" id="sect-Musicians_Guide-What_Is_Planet_CCRMA"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</h2></div></div></div><div class="para">
As stated on the project's home page, it is the goal of Planet CCRMA at Home to provide packages which will transform a Fedora Linux-based computer into an audio workstation. What this means is that, while the Fedora Project does an excellent job of providing a general-purpose operating system, a general purpose operating system is insufficient for audio work of the highest quality. The contributors to Planet CCRMA at Home provide software packages which can tune your system specifically for audio work.
</div><div class="para">
Users of GNU Solfege and LilyPond should not concern themselves with Planet CCRMA at Home, unless they also user other audio software. Neither Solfege nor LilyPond would benefit from a computer optimzed for audio production.
@@ -423,15 +446,15 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
Ultimately, it is your responsibility to ensure that your computer and its data is kept safely and securely. You will need to find the best solution for your own work patterns and desires.
</div></div></div><div class="section" title="4.3. Using Software from Planet CCRMA at Home" id="sect-Musicians_Guide-Using_Planet_CCRMA_Software"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using Software from Planet CCRMA at Home</h2></div></div></div><div class="para">
- The Planet CCRMA at Home software is hosted (stored) on a server at Stanford University. It is separate from the Fedora Linux servers, so yum (the command-line utility used by PackageKit and KPackageKit) must be made aware that you wish to use it. After installing the repository, Planet CCRMA at Home software can be installed through yum, PackageKit, or KPackageKit just as easily as any other software.
+ The Planet CCRMA at Home software is hosted (stored) on a server at Stanford University. It is separate from the Fedora Linux servers, so <code class="command">yum</code> (the command line utility used by PackageKit and KPackageKit) must be made aware that you wish to use it. After installing the repository, Planet CCRMA at Home software can be installed through yum, PackageKit, or KPackageKit just as easily as any other software.
</div><div class="section" title="4.3.1. Installing the Planet CCRMA at Home Repositories" id="sect-Musicians_Guide-CCRMA_Installing_Repository"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</h3></div></div></div><div class="para">
The following steps will install the Planet CCRMA at Home repository, intended only for Fedora Linux-based computers.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Update your computer with PackageKit, KPackageKit, or by running <code class="code">su -c 'yum update'</code> and approving the installation.
+ Update your computer with PackageKit, KPackageKit.
</div></li><li class="listitem"><div class="para">
You will have to use a terminal window for the next portion.
</div></li><li class="listitem"><div class="para">
- Run the following commands: <code class="code">su -c 'rpm -Uvh http://ccrma.stanford.edu/planetccrma/mirror/fedora/linux/planetccrma/12/i386/planetccrma-repo-1.1-2.fc12.ccrma.noarch.rpm'</code> ADMONITION that this will work for Fedora 12, 13, and 14 and 32-bit and 64-bit
+ Run the following commands: <code class="command">su -c 'rpm -Uvh http://ccrma.stanford.edu/planetccrma/mirror/fedora/linux/planetccrma/12/i386/planetccrma-repo-1.1-2.fc12.ccrma.noarch.rpm'</code> This works for Fedora 12, 13, and 14 and 32-bit and 64-bit
</div></li><li class="listitem"><div class="para">
Update your computer again.
</div></li><li class="listitem"><div class="para">
@@ -443,38 +466,46 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div><div class="para">
- Although it is necessary to use the "rpm" program directly, all other Planet CCRMA software can be installed through "yum", like all other applications. Here is an explanation of the command-line options used above:
+ Although it is necessary to use the <code class="command">rpm</code> program directly, all other Planet CCRMA software can be installed through <code class="command">yum</code>, like all other applications. Here is an explanation of the command-line options used above:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- -U means "upgrade," which will install the specified package, and remove any previously-installed version
+ <code class="literal">-U</code> means "upgrade," which will install the specified package, and remove any previously-installed version
</div></li><li class="listitem"><div class="para">
- -v means "verbose," which will print additional information meessages
+ <code class="literal">-v</code> means "verbose," which will print additional information meessages
</div></li><li class="listitem"><div class="para">
- -h means "hash," which will display hash marks (these: #) showing the progress of installation.
+ <code class="literal">-h</code> means "hash," which will display hash marks (these: <code class="literal">#</code>) showing the progress of installation.
</div></li></ul></div>
- </div></div><div class="section" title="4.3.2. Setting Repository Priorities" id="sect-Musicians_Guide-CCRMA_Repository_Priorities"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Setting Repository Priorities</h3></div></div></div><div class="para">
- This is optional, and recommended only for advanced users. Normally, "yum" will install the latest version of a package, regardless of which repository provides it. Using this plugin will change this behaviour, so that yum will choose package versions primarily based on which repository provides it. If a newer version is available at a repository with lower priority, yum will not upgrade the package. If you simply wish to prevent a particular package from being updated, the instructions in "Preventing LINK LINK" are better-suited to your needs.
+ </div></div><div class="section" title="4.3.2. Set Repository Priorities" id="sect-Musicians_Guide-CCRMA_Repository_Priorities"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Repository_Priorities">4.3.2. Set Repository Priorities</h3></div></div></div><div class="para">
+ This is optional, and recommended only for advanced users. <span class="application"><strong>yum</strong></span> normally installs the latest version of a package, regardless of which repository provides it. Using this plugin will change this behaviour, so that <span class="application"><strong>yum</strong></span> will choose package versions primarily based on which repository provides it. If a newer version is available at a repository with lower priority, <span class="application"><strong>yum</strong></span> does not upgrade the package. If you simply wish to prevent a particular package from being updated, the instructions in <a class="xref" href="#sect-Musicians_Guide-CCRMA_Preventing_Package_Updates" title="4.3.3. Prevent a Package from Being Updated">Section 4.3.3, “Prevent a Package from Being Updatedâ€</a> are better-suited to your needs.
+ </div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+ Install the <span class="package">yum-plugin-priorities</span> package.
+ </div></li><li class="step" title="Step 2"><div class="para">
+ Use a text editor or the <span class="application"><strong>cat</strong></span> or <span class="application"><strong>less</strong></span> command to verify that <code class="filename">/etc/yum/pluginconf.d/priorities.conf</code> exists, and contains the following text:
+<pre class="programlisting">
+[main]
+enabled = 1
+</pre>
+ If you want to stop using the plugin, you can edit this file so that <code class="code">enabled = 0</code>. This allows you to keep the priorities as set in the repository configuration files.
+ </div></li><li class="step" title="Step 3"><div class="para">
+ You can set priorities for some or all repositories. To add a priority to a repository, edit its respective file in the <code class="filename">/etc/yum.repos.d/<em class="replaceable"><code>*</code></em></code> directory, adding a line like: <code class="literal">priority = <em class="replaceable"><code>N</code></em></code> where <code class="literal">N</code> is a number between <code class="literal">1</code> and <code class="literal">99</code>, inclusive. A priority of <code class="literal">1</code> is the highest setting, and <code class="literal">99</code> is the lowest. You will need to set priorities of at least two repositories before this becomes useful.
+ </div></li></ol></div></div><div class="section" title="4.3.3. Prevent a Package from Being Updated" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</h3></div></div></div><div class="para">
+ This is optional, and recommended only for advanced users. <code class="command">yum</code> normally installs the latest version of packages. This plugin prevents certain packages from being updated. If you wish to prevent packages from a particular repository from being used, then <a class="xref" href="#sect-Musicians_Guide-CCRMA_Repository_Priorities" title="4.3.2. Set Repository Priorities">Section 4.3.2, “Set Repository Prioritiesâ€</a> is better-suited to your needs.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Install the "yum-plugin-priorities" package.
+ Install the <code class="literal">yum-plugin-versionlock</code> package.
</div></li><li class="listitem"><div class="para">
- Use a text editor or the "cat" or "less" command to verify that <code class="code">/etc/yum/pluginconf.d/priorities.conf</code> exists, and contains the following text: [pre][main] enabled = 1[/pre]If you want to stop using the plugin, you can edit this file so that <code class="code">enabled = 0</code>. This allows you to keep the priorities as set in the repository configuration files.
+ Use a text editor or the <code class="command">cat</code> or <code class="command">less</code> command to verify that <code class="filename">/etc/yum/pluginconf.d/versionlock.conf</code> exists, and contains the following text: <code class="code">enabled = 1</code>
</div></li><li class="listitem"><div class="para">
- You can set priorities for some or all repositories. To add a priority to a repository, edit its respective file in the <code class="code">/etc/yum.repos.d/*</code> directory, adding a line like: [pre]priority = N[/pre]where N is a number from 1 to 99, inclusive. A priority of 1 is the highest setting, and 99 is the lowest. You will need to set priorities of at least two repositories before this becomes useful.
- </div></li></ol></div>
+ Add the list of packages which you do not want to be updated to <code class="filename">/etc/yum/pluginconf.d/versionlock.list</code>. Each package should go on its own line. For example:
+<pre class="programlisting">
+jack-audio-connect-kit-1.9.4
+qjackctl-0.3.6
+</pre>
- </div></div><div class="section" title="4.3.3. Preventing a Package from Being Updated" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Preventing a Package from Being Updated</h3></div></div></div><div class="para">
- This is optional, and recommended only for advanced users. Normally, "yum" will install the latest version of a package. Using this plugin will allow you to prevent certain packages from being updated. If you wish to prevent packages from a particular repository from being used, then THIS SECTION is better-suited to your needs.
- <div class="orderedlist"><ol><li class="listitem"><div class="para">
- Install the "yum-plugin-versionlock" package.
- </div></li><li class="listitem"><div class="para">
- Use a text editor or the "cat" or "less" command to verify that <code class="code">/etc/yum/pluginconf.d/versionlock.conf</code> exists, and contains the following text: [pre]enabled = 1[/pre]
- </div></li><li class="listitem"><div class="para">
- Add the list of packages which you do not want to be updated to <code class="code">/etc/yum/pluginconf.d/versionlock.list</code>. Each package should go on its own line. For example: [pre]jack-audio-connect-kit-1.9.4 qjackctl-0.3.6[/pre]
</div></li></ol></div>
- </div></div></div></div></div><div class="part" title="Part II. Audio and Music Software" id="id728379"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part II. Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id728386"><div></div><div class="para">
+ </div></div></div></div></div><div class="part" title="Part II. Audio and Music Software" id="id804400"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part II. Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id804407"><div></div><div class="para">
asdf
- </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Audacity">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></d
t><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a
></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tut
orial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclus
ion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Digital_Audio_Workstations">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Stages_of_Recording">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gu
ide-Mixing">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mastering">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Record_Mix_Master_More_Info">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_and_Multitrack">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Region_Clip_Segment">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Session_Track_Region">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Transport_and_Playhead">6.3.5. Transp
ort and Playhead</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Automation">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Ardour">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardo
ur-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running Ardour</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</a></span></d
t><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to Ardour</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Au
dio and Managing JACK Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions
to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initi
al_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window<
/a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Qtractor">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Mus
icians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JA
CK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Im
port the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11.
Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Rosegarden">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Re
quirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JA
CK and Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span><
/dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-FluidSynth">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a><
/span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-In_a_Terminal">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSy
nth-Configuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="sect
ion"><a href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requ
irements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using
_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span cla
ss="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented SuperCollider</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span cl
ass="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a hre
f="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_
Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-LilyPond">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a
href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt
><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a><
/span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span>
</dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></d
d></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Frescobaldi">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Configuration">13.3. Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Solfege">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Hardware_and_Software_Requ
irements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Instruments">14.2.2. Instruments</a></span></dt
><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-External_Programs">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Interface">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Practise">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Sound_Setup">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Exercise_Types">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="#sect-Music
ians_Guide-Solfege-Training-Making_an_Aural_Skills_Program">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Supplementary_References">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Singing_Exercises">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Configure_Yourself_Exericses">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Rhythm_Exercises">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Dictation_Exercises">14.4.5. Dictation</a></span>
</dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Harmonic_Progressions">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Intonation">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></div></div><div xml:lang="en-US" class="chapter" title="Chapter 5. Audacity" id="chap-Musicians_Guide-Audacity" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 5. Audacity</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicia
ns_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_
Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.
6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians
_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></div><div class="para">
+ </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="#chap-Musicians_Guide-Audacity">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></d
t><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a
></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tut
orial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclus
ion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Digital_Audio_Workstations">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Stages_of_Recording">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gu
ide-Mixing">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Mastering">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Record_Mix_Master_More_Info">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Interface_Vocabulary">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_and_Multitrack">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Region_Clip_Segment">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Session_Track_Region">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Transport_and_Playhead">6.3.5. Transp
ort and Playhead</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Automation">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Ardour">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardo
ur-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recor
ding-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><s
pan class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Grou
ps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Ste
reo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span
></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Qtractor">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#s
ect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MID
I Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtrac
tor Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtracto
r's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Mus
icians_Guide-Rosegarden">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration">9.2. Configuration</a></
span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion">9.4.3. Spice up the Percussion
</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Melody">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-FluidSynth">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><sp
an class="section"><a href="#sect-Musicians_Guide-FluidSynth-Requirements_and_Installation">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Req_and_Inst">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth
-In_a_Terminal">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Flui
dSynth-Assigning_Programs_to_Channels">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-FluidSynth-Multiple_Instances">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-SuperCollider">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions f
or This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GE
dit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First St
eps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming
-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attri
bution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tone
s">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter">
<a href="#chap-Musicians_Guide-LilyPond">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Installation">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Articulations">12.4.3. Articulations</a></span></dt><
dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Source_Files">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyP
ond-Counterpoint-Starting_the_Score">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Inputting">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Mus
icians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Orchestra-Inputting">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Inputting">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPo
nd-Piano-Troubleshooting_Errors">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-LilyPond-Piano-Formatting">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Frescobaldi">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Installation">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Configuration">13.3. Configuration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Frescobaldi-Using">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="#chap-Musicians_Guide-Solfege">14. GNU Solfege</a></span></dt><dd><dl><dt><s
pan class="section"><a href="#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicia
ns_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Instruments">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-External_Programs">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Interface">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Practise">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Configuration-Sound_Setup">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14
.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Exercise_Types">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Training-Supplementary_References">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Using_the_Exercises">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Singing_Exercises">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Configure_Yourself_Exericses">14.4.3. Configure Yourself</a></span>
</dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Rhythm_Exercises">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Dictation_Exercises">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Harmonic_Progressions">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Solfege-Intonation">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></div></div><div xml:lang="en-US" class="chapter" title="Chapter 5. Audacity" id="chap-Musicians_Guide-Audacity" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 5. Audacity</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Requirements_and_Installation">5.2. Re
quirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Hardware_Requirements">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Playback">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Testing_Recording">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity_Configuration">5.3. Configuration</a></span>
</dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Interface">5.4. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record">5.5.2. Continue to Record</a></span></dt></dl
></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Scenario">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutor
ial-Fade_Out">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Tutorial-Conclusion">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Save_and_Export">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Audacity-Exporting_a_Whole_File">5.7.2. Export a Whol
e File</a></span></dt></dl></dd></dl></div><div class="para">
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.
</div><div class="section" title="5.1. Kowing When to Use Audacity" id="sect-Musicians_Guide-Audacity-Knowing_When_to_Use"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</h2></div></div></div><div class="para">
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.
@@ -897,23 +928,38 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
The most common method of automating a setting is with a two-dimensional graph called an '''envelope''', which is drawn on top of an audio track, or underneath it in an '''automation track'''. The user adds adjustment points by adding and moving points on the graph. This method allows for complex, gradual changes of the setting, as well as simple, one-time changes. Automation is often controlled by means of MIDI signals, for both audio and MIDI tracks. This allows for external devices to adjust settings in the DAW, and vice-versa - you can actually automate your own hardware from within a software-based DAW! Of course, not all hardware supports this, so refer to your device's user manual.
</div></div></div><div class="section" title="6.4. User Interface" id="sect-Musicians_Guide-DAW_User_Interface"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</h2></div></div></div><div class="para">
This section describes various components of software-based DAW interfaces. Although the Qtractor application is visible in the images, both Ardour and Rosegarden (along with most other DAW software) have an interface that differs only in details, such as which buttons are located where.
- </div><div class="section" title="6.4.1. "Messages" Pane" id="sect-Musicians_Guide-Messages_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-messages.png" width="444" /></div><div class="para">
+ </div><div class="section" title="6.4.1. "Messages" Pane" id="sect-Musicians_Guide-Messages_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-messages.png" width="444" /></span>
+
+ </div><div class="para">
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.
- </div></div><div class="section" title="6.4.2. Clock" id="sect-Musicians_Guide-DAW_Clock"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-clocks.png" width="444" /></div><div class="para">
+ </div></div><div class="section" title="6.4.2. Clock" id="sect-Musicians_Guide-DAW_Clock"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-clocks.png" width="444" /></span>
+
+ </div><div class="para">
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.
</div><div class="para">
Note that this particular time clock in "Qtractor" also offers information about the MIDI tempo and metre (120.0 beats per minute, and 4/4 metre), along with a quantization setting for MIDI recording.
- </div></div><div class="section" title="6.4.3. "Track Info" Pane" id="sect-Musicians_Guide-Track_Info_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-track_info.png" width="444" /></div><div class="para">
+ </div></div><div class="section" title="6.4.3. "Track Info" Pane" id="sect-Musicians_Guide-Track_Info_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-track_info.png" width="444" /></span>
+
+ </div><div class="para">
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.
</div><div class="para">
The information provided, and the layout of buttons, can change dramatically between DAWs, but they all offer the same basic functionality. Often, right-clicking on a track info box will give access to extended configuration options. Left-clicking on a portion of the track info box that is not a button allows you to select a track without selecting a particular moment in "track" pane.
</div><div class="para">
The "track info" pane does not scroll out of view as the "track" pane is adjusted, but is independent.
- </div></div><div class="section" title="6.4.4. "Track" Pane" id="sect-Musicians_Guide-Track_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-track.png" width="444" /></div><div class="para">
+ </div></div><div class="section" title="6.4.4. "Track" Pane" id="sect-Musicians_Guide-Track_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-track.png" width="444" /></span>
+
+ </div><div class="para">
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.
</div><div class="para">
Scrolling the "track" pane horizontally allows you to view the regions throughout the session. The left-most point is the start of the session; the right-most point is after the end of the session. Most DAWs allow you to scroll well beyond the end of the session. Scrolling vertically in the "track" pane allows you to view the regions and tracks in a particular time range.
- </div></div><div class="section" title="6.4.5. Transport Controls" id="sect-Musicians_Guide-DAW_Transport_Controls"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-transport.png" width="444" /></div><div class="para">
+ </div></div><div class="section" title="6.4.5. Transport Controls" id="sect-Musicians_Guide-DAW_Transport_Controls"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-transport.png" width="444" /></span>
+
+ </div><div class="para">
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.
</div><div class="para">
The single, left-pointing arrow with a vertical line will move the transport to the start of the session, without playing or recording any material. In "Qtractor," if there is a blue place-marker between the transport and the start of the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the beginning of the session.
@@ -925,33 +971,36 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
The single, right-pointing arrow is commonly called "play," but it actually moves the transport forward in real-time. When it does this, if the transport is armed for recording, any armed tracks will record. Whether or not the transport is armed, pressing the "play" button causes all un-armed tracks to play all existing regions.
</div><div class="para">
The circular button arms the transport for recording. It is conventionally red in colour. In "Qtractor," the transport can only be armed ''after'' at least one track has been armed; to show this, the transport's "arm" button only turns red if a track is armed.
- </div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 7. Ardour" id="chap-Musicians_Guide-Ardour" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 7. Ardour</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-R
ecording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running Ardour</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to Ardour</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gui
de-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing JACK Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect
_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">
7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mast
ering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></div><div class="para">
- Ardour is a feature-rich application designed for multi-track recording situations.
+ </div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 7. Ardour" id="chap-Musicians_Guide-Ardour" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 7. Ardour</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-R
ecording_a_Session">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level">7.2.6. Adju
sting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_a_Region">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Recording_More">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and
_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Editing-Arrange">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ar
dour-Editing-Listen">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mixing-Other_Things">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gui
de-Ardour-Mixing-Listen">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></div><div class="para">
+ <span class="application"><strong>Ardour</strong></span> is a feature-rich application designed for multi-track recording situations.
</div><div class="section" title="7.1. Requirements and Installation" id="sect-Musicians_Guide-Ardour-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</h2></div></div></div><div class="section" title="7.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Ardour-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
- Ardour's user interface is similar to other DAWs. We recommend that you read <a class="xref" href="#sect-Musicians_Guide-DAW_User_Interface" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
+ The <span class="application"><strong>Ardour</strong></span> user interface is similar to other DAWs. We recommend that you read <a class="xref" href="#sect-Musicians_Guide-DAW_User_Interface" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
</div></div><div class="section" title="7.1.2. Software Requirements" id="sect-Musicians_Guide-Ardour-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</h3></div></div></div><div class="para">
- Ardour uses the JACK Audio Connection Kit. You should install JACK before installing Ardour. Follow the instructions in <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> to install JACK.
+ <span class="application"><strong>Ardour</strong></span> uses the <code class="systemitem">JACK Audio Connection Kit</code>. You should install <code class="systemitem">JACK</code> before installing <span class="application"><strong>Ardour</strong></span>. Follow the instructions in <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> to install <code class="systemitem">JACK</code>.
</div></div><div class="section" title="7.1.3. Hardware Requirements" id="sect-Musicians_Guide-Ardour-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</h3></div></div></div><div class="para">
- You need an audio interface to use Ardour. If you will record audio with Ardour, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other JACK-aware programs like <code class="code">FluidSynth</code> and <code class="code">SuperCollider</code>.
+ You need an audio interface to use <span class="application"><strong>Ardour</strong></span>. If you will record audio with <span class="application"><strong>Ardour</strong></span>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <code class="systemitem">JACK</code>-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="7.1.4. Installation" id="sect-Musicians_Guide-Ardour-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</h3></div></div></div><div class="para">
- Use PackageKit or KPackageKit to install the "ardour" package. Other required software is installed automatically.
+ Use <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span> to install the <span class="package">ardour</span> package. Other required software is installed automatically.
</div></div></div><div class="section" title="7.2. Recording a Session" id="sect-Musicians_Guide-Ardour-Recording_a_Session"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</h2></div></div></div><div class="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.
- </div><div class="section" title="7.2.1. Running Ardour" id="sect-Musicians_Guide-Ardour-Recording-Running_Ardour"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running Ardour</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Ardour uses the JACK sound server. You should start JACK with QjackCtl before running Ardour, or Ardour will start JACK for you.
+ 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 <code class="systemitem">JACK</code> must have the same sample rate and sample format settings each time you open a session.
+ </div><div class="section" title="7.2.1. Running Ardour" id="sect-Musicians_Guide-Ardour-Recording-Running_Ardour"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+ <span class="application"><strong>Ardour</strong></span> uses the <code class="systemitem">JACK</code> sound server. Use <span class="application"><strong>QjackCtl</strong></span> to start <code class="systemitem">JACK</code> before <span class="application"><strong>Ardour</strong></span>, or <span class="application"><strong>Ardour</strong></span> starts <code class="systemitem">JACK</code> for you.
</div></li><li class="step" title="Step 2"><div class="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.
+ <span class="application"><strong>Ardour</strong></span> asks you to choose a location to save your new session. <span class="application"><strong>Ardour</strong></span> automatically creates a directory to store the session's files. You can also open an existing session.
</div></li></ol></div></div><div class="section" title="7.2.2. The Interface" id="sect-Musicians_Guide-Ardour-Recording-Interface"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</h3></div></div></div><div class="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 <a class="xref" href="#sect-Musicians_Guide-DAW_Interface_Vocabulary" title="6.3. Interface Vocabulary">Section 6.3, “Interface Vocabularyâ€</a>.
- </div><div class="mediaobject"><img src="./images/Ardour-interface-editor_mixer.png" width="444" /></div><div class="para">
- 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.
- </div><div class="mediaobject"><img src="./images/Ardour-interface-session_sidebar.png" width="444" /></div><div class="para">
- 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.
- </div><div class="mediaobject"><img src="./images/Ardour-interface-toolbar.png" width="444" /></div><div class="para">
- 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.
+ This section explains some of the graphical interface components that are unique to <span class="application"><strong>Ardour</strong></span>. Components that are consistent through most DAWs are explained in <a class="xref" href="#sect-Musicians_Guide-DAW_Interface_Vocabulary" title="6.3. Interface Vocabulary">Section 6.3, “Interface Vocabularyâ€</a>.
+ </div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Ardour-interface-editor_mixer.png" width="444" /></span>
+ This image shoes the editor mixer, located at the left of the main <span class="application"><strong>Ardour</strong></span> 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.
+ </div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Ardour-interface-session_sidebar.png" width="444" /></span>
+ This image shows the session sidebar, located at the right the main <span class="application"><strong>Ardour</strong></span> 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.
+ </div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Ardour-interface-toolbar.png" width="444" /></span>
+ 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.
</div></div><div class="section" title="7.2.3. Setting up the Timeline" id="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.2.3. Setting up the Timeline</h3></div></div></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- At the top of the main Ardour window, to the right of the transport's toolbar, are two relatively large clocks.
+ At the top of the main <span class="application"><strong>Ardour</strong></span> window, to the right of the transport's toolbar, are two relatively large clocks.
</div></li><li class="listitem"><div class="para">
Right-click to choose what you want them to display:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -1008,8 +1057,8 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
The rulers you should choose depends on the clock settings and the snap mode.
</div></li></ol></div>
- </div></div><div class="section" title="7.2.4. Connecting Audio Sources to Ardour" id="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to Ardour</h3></div></div></div><div class="para">
- The name of the track onto which you want to record should be the name of the input in JACK
+ </div></div><div class="section" title="7.2.4. Connecting Audio Sources to Ardour" id="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></h3></div></div></div><div class="para">
+ The name of the track onto which you want to record should be the name of the input in <code class="systemitem">JACK</code>
</div></div><div class="section" title="7.2.5. Setting up the Busses and Tracks" id="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks">7.2.5. Setting up the Busses and Tracks</h3></div></div></div><div class="para">
This is what a bus is. By default there's a master bus, to which will be sent everything you're going to export. Busses don't contain regions. A bus is like a "batch collecting zone," so for example you send all the audio-to-be-exported to the master bus, where you can subject the whole project to a particular filter or volume-adjustment.
</div><div class="para">
@@ -1051,35 +1100,37 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as "nothing but noise."
</div><div class="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:
- </div><div class="mediaobject"><img src="./images/Ardour-red_peaks.png" width="444" /></div><div class="para">
+ It's easy to imagine how <span class="application"><strong>Ardour</strong></span> acts when it records silence. When <span class="application"><strong>Ardour</strong></span> thinks that a portion of audio is too loud, it outlines the wave-form representation in red, as shown in this image:
+ <span class="inlinemediaobject"><img src="./images/Ardour-red_peaks.png" width="444" /></span>
+
+ </div><div class="para">
There are three simple strategies that can be used to change the input level of an audio signal:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Move the microphone closer or farther from the source
</div></li><li class="listitem"><div class="para">
Route the microphone through a mixer before it hits the audio interface
</div></li><li class="listitem"><div class="para">
- Route the audio through a bus in Ardour before it gets recorded
+ Route the audio through a bus in <span class="application"><strong>Ardour</strong></span> before it gets recorded
</div></li></ol></div>
</div><div class="para">
Here are the pros and cons of each approach.
</div><div class="para">
- There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in Ardour to modify the volume of the input signal before it is recorded.
+ There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <span class="application"><strong>Ardour</strong></span> to modify the volume of the input signal before it is recorded.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Create a new bus by 'Track > Add Track/Bus'
+ Choose <span class="guimenu"><strong>Track</strong></span> → <span class="guimenuitem"><strong>Add Track/Bus</strong></span>.
</div></li><li class="listitem"><div class="para">
Select "busses" in the window that pops up.
</div></li><li class="listitem"><div class="para">
- Choose the number of busses that you wish to add. You will need one for every track that you are recording, and of which you want to adjust the volume. It's also possible to record at several different volumes.
+ Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes.
</div></li><li class="listitem"><div class="para">
Set the number of channels that youw ant int he bus.
</div></li><li class="listitem"><div class="para">
Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like "REC-Bus."
</div></li><li class="listitem"><div class="para">
- Ardour automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track.
+ <span class="application"><strong>Ardour</strong></span> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track.
</div></li><li class="listitem"><div class="para">
- You will need to use QjackCtl (or a similar application) to re-connect as follows (reading "Routing Audio and Managing JACK Connections" for help)
+ Use <span class="application"><strong>QjackCtl</strong></span> to reconnect like this (for help, refer to <a class="xref" href="#sect-Musicians_Guide-Ardour-Recording-Routing_Audio" title="7.2.9. Routing Audio and Managing JACK Connections">Section 7.2.9, “Routing Audio and Managing <code class="systemitem">JACK</code> Connectionsâ€</a>):
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Disconnect all of the connections to/from the bus you want to use for recording ("recording bus").
</div></li><li class="listitem"><div class="para">
@@ -1099,7 +1150,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Set up all microphones as required.
</div></li><li class="listitem"><div class="para">
- Set up connections in JACK as required.
+ Set up connections in <code class="systemitem">JACK</code> as required.
</div></li><li class="listitem"><div class="para">
Set up any recording busses as required (see above).
</div></li><li class="listitem"><div class="para">
@@ -1131,7 +1182,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
the buttons will remain lighted to show that the tracks are armed
</div></li><li class="listitem"><div class="para">
- arm Ardour for recording by select the big red record button on the transport
+ arm <span class="application"><strong>Ardour</strong></span> for recording by select the big red record button on the transport
</div></li><li class="listitem"><div class="para">
start the transport in in the normal way (big play button)
</div></li><li class="listitem"><div class="para">
@@ -1139,7 +1190,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
each time you start and stop the transport, a new "region" is produced
</div></li><li class="listitem"><div class="para">
- each time you stop the transport, Ardour "un-arms" itself, but any tracks that you selected are still armed
+ each time you stop the transport, <span class="application"><strong>Ardour</strong></span> "un-arms" itself, but any tracks that you selected are still armed
</div></li><li class="listitem"><div class="para">
When you've finished recording a region, use the "Regions" box-thing on the right of the interface to rename the region:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -1171,7 +1222,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div></div><div class="section" title="7.2.8.2. To Capture an Additional Part of Something That Is already Recorded" id="sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts">7.2.8.2. To Capture an Additional Part of Something That Is already Recorded</h4></div></div></div><div class="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 e
diting features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there.
+ 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. <span class="application"><strong>Ardour</strong></span> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <span class="application"><strong>Ardour</strong></span> 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 <span class="application"><strong>Ardour</strong></span> 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.
</div><div class="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.
</div><div class="para">
@@ -1197,7 +1248,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div></div><div class="section" title="7.2.8.3. To Capture a Better Recording of Something That Is already Recorded" id="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take">7.2.8.3. To Capture a Better Recording of Something That Is already Recorded</h4></div></div></div><div class="para">
- If you have already recorded all or most of a session, you can re-record *part* of the session in order to "fix up" any issues. Ardour allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes.
+ If you have already recorded all or most of a session, you can re-record *part* of the session in order to "fix up" any issues. <span class="application"><strong>Ardour</strong></span> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Record the session.
</div></li><li class="listitem"><div class="para">
@@ -1214,10 +1265,10 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
Start the transport and record the revised section of music.
</div></li></ol></div>
At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing.
- </div></div></div><div class="section" title="7.2.9. Routing Audio and Managing JACK Connections" id="sect-Musicians_Guide-Ardour-Recording-Routing_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing JACK Connections</h3></div></div></div><div class="para">
- Ardour will automatically save the state of JACK connections when it saves a session.
+ </div></div></div><div class="section" title="7.2.9. Routing Audio and Managing JACK Connections" id="sect-Musicians_Guide-Ardour-Recording-Routing_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</h3></div></div></div><div class="para">
+ <span class="application"><strong>Ardour</strong></span> automatically saves the state of <code class="systemitem">JACK</code> connections when it saves a session.
</div><div class="para">
- Ardour will offer the following output ports, assuming a stereo (two-channel) setup:
+ <span class="application"><strong>Ardour</strong></span> offers the following output ports, assuming a stereo (two-channel) setup:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
two channels per track, called "track_name/out 1" and "track_name/out 2". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one.
</div></li><li class="listitem"><div class="para">
@@ -1231,7 +1282,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
</div><div class="para">
- Ardour will offer the following input ports, assuming a stereo (two-channel) setup:
+ <span class="application"><strong>Ardour</strong></span> offers the following input ports, for a stereo (two-channel) setup:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
two channels per track, called "track_name/in 1" and "track_name/in 2". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus.
</div></li><li class="listitem"><div class="para">
@@ -1241,11 +1292,11 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
</div><div class="para">
- In most setups, Ardour will automatically set the channel connections correctly. There are ways to change the connections from within Ardour, but they offer limited flexibility. For this reason, it is recommended that users use QjackCtl to monitor connections, since through QjackCtl it is also possible to monitor and change many other features of JACK.
+ In most setups, <span class="application"><strong>Ardour</strong></span> automatically sets the channel connections correctly. There are ways to change the connections from within <span class="application"><strong>Ardour</strong></span>, but they offer limited flexibility. For this reason, it is recommended that users use <span class="application"><strong>QjackCtl</strong></span> to monitor connections, since through <span class="application"><strong>QjackCtl</strong></span> it is also possible to monitor and change many other features of <code class="systemitem">JACK</code>.
</div><div class="para">
- Learning to make the right connections is a valuable trick for people using Ardour. The fact that Ardour uses JACK for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist.
+ Learning to make the right connections is a valuable trick for people using <span class="application"><strong>Ardour</strong></span>. The fact that <span class="application"><strong>Ardour</strong></span> uses <code class="systemitem">JACK</code> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist.
</div></div><div class="section" title="7.2.10. Importing Existing Audio" id="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Importing Existing Audio</h3></div></div></div><div class="para">
- When you record audio, Ardour automatically save it to disk and adds a representation of that file in the program as a "region." You can also use pre-existing audio files as regions, which can then be added to any track.
+ When you record audio, <span class="application"><strong>Ardour</strong></span> automatically save it to disk and adds a representation of that file in the program as a "region." You can also use pre-existing audio files as regions, which can then be added to any track.
</div><div class="para">
To import an existing audio file:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -1271,7 +1322,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to "audition" the file before importing it (that is, you can hear it by using the "Play" and "Stop" buttons in the window, without affecting your current project.
</div></li><li class="listitem"><div class="para">
- If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case Ardour will warn you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch.
+ If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <span class="application"><strong>Ardour</strong></span> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch.
</div></li><li class="listitem"><div class="para">
There are a number of other options, displayed along the bottom of the window.
</div></li><li class="listitem"><div class="para">
@@ -1283,7 +1334,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
"to region list," which puts each file in the region list, but does not automatically put it in any tracks.
</div></li><li class="listitem"><div class="para">
- Note that when you choose to automatically create new tracks, Ardour will add the region to the new track, with the region starting at the current location of the transport.
+ Note that when you choose to automatically create new tracks, <span class="application"><strong>Ardour</strong></span> adds the region to the new track, with the region starting at the current location of the transport.
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
@@ -1295,9 +1346,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div></div><div class="section" title="7.3. Files for the Tutorial" id="sect-Musicians_Guide-Ardour-Tutorial_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</h2></div></div></div><div class="para">
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 <em class="citetitle">Esther Wheaton's MySpace Page</em>, available at <a href="http://www.myspace.com/estherwheaton">http://www.myspace.com/estherwheaton</a>.
</div><div class="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.
+ The material presented for your use is a folder containing an <span class="application"><strong>Ardour</strong></span> 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 <span class="application"><strong>Ardour</strong></span>as separate regions. Therefore, the setup is more complex than it would be if the song were originally recorded in <span class="application"><strong>Ardour</strong></span>, but this gives the opportunity to learn in greater detail about busses, creating and using the stereo image, and volume level adjustments.
</div><div class="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.
+ 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 <span class="application"><strong>Ardour</strong></span>, and this is almost guaranteed.
</div><div class="para">
!!EL!! Links to the files !!I!! I don't know where to put them!
</div></div><div class="section" title="7.4. Editing a Song (Tutorial)" id="sect-Musicians_Guide-Ardour-Editing"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Editing">7.4. Editing a Song (Tutorial)</h2></div></div></div><div class="para">
@@ -1305,7 +1356,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <a class="xref" href="#sect-Musicians_Guide-Ardour-Tutorial_Files" title="7.3. Files for the Tutorial">Section 7.3, “Files for the Tutorialâ€</a>.
</div><div class="section" title="7.4.1. Add Tracks and Busses" id="sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</h3></div></div></div><div class="para">
- The program used to record these tracks was configured to record onto a separate track for the left and right channels, so Ardour will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within Ardour.
+ The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <span class="application"><strong>Ardour</strong></span> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <span class="application"><strong>Ardour</strong></span>.
</div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
There is already a master bus, named "master". All audio being outputted should be fed through this bus.
@@ -1330,7 +1381,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
The box will turn into a text-editing box. Erase the contents, and write the new name.
</div></li><li class="listitem"><div class="para">
- When you have entered the new name, press "Enter" on the keyboard to set it in Ardour.
+ When you have entered the new name, press "Enter" on the keyboard to set it in <span class="application"><strong>Ardour</strong></span>.
</div></li><li class="listitem"><div class="para">
The box will no longer be a text-editing box.
</div></li><li class="listitem"><div class="para">
@@ -1405,7 +1456,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div></div><div class="section" title="7.4.2. Connect the Tracks and Busses" id="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</h3></div></div></div><div class="para">
- Although we have created a system of busses in our mind, we still haven't told Ardour about it. You can use QjackCtl to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting Ardour know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest.
+ Although we have created a system of busses in our mind, we still have not told <span class="application"><strong>Ardour</strong></span> about it. You can use <span class="application"><strong>QjackCtl</strong></span> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <span class="application"><strong>Ardour</strong></span> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest.
</div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
One way to connect tracks and busses is more suitable for small-scale connection changes.
@@ -1432,9 +1483,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
Clicking a connection in this list will remove it.
</div></li><li class="listitem"><div class="para">
- The right side, labeled "Available connections," contains a list of all of the inputs offered by JACK.
+ The right side, labeled "Available connections," contains a list of all of the inputs offered by <code class="systemitem">JACK</code>.
</div></li><li class="listitem"><div class="para">
- Each JACK-aware application has a tab with its connections listed underneath.
+ Each <code class="systemitem">JACK</code>-aware application has a tab with its connections listed underneath.
</div></li><li class="listitem"><div class="para">
Clicking a connection in this list will add it to the last-selected output channel.
</div></li></ul></div>
@@ -1458,7 +1509,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
The other way to change connections is much faster for large-scale changes like the ones required here.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- From the menu, select 'Window > Track/Bus Inspector'
+ Choose <span class="guimenu"><strong>Window</strong></span> → <span class="guimenuitem"><strong>Track/Bus Inspector</strong></span>.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
The "Track/Bus Inspector" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side.
</div></li><li class="listitem"><div class="para">
@@ -1486,7 +1537,8 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div></li></ol></div>
- [[File:FMG-Ardour-Connections.png]]
+ <span class="inlinemediaobject"><img src="./images/FMG-Ardour-Connections.png" width="444" /></span>
+
</div></div><div class="section" title="7.4.3. Creating Edit Groups" id="sect-Musicians_Guide-Ardour-Editing-Edit_Groups"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Editing-Edit_Groups">7.4.3. Creating Edit Groups</h3></div></div></div><div class="para">
Explain how to do that, and why.
</div></div><div class="section" title="7.4.4. Add Regions to Tracks" id="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks">7.4.4. Add Regions to Tracks</h3></div></div></div><div class="para">
@@ -1502,7 +1554,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added ("Marimba_1" regions before "Marimba_2"), and a letter "L" or "R" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with "ens-" belong on the "voice" tracks ("ens" is short for "ensemble," meaning that those regions contain a small vocal ensemble, whereas the "Voice... " regions contain just one singer). The "Here_Is_How" regions belong before the "Create_the_Inconceivable" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit and mix the song. We don't
need to use the "marimba2" tracks or bus yet, so just add all of the "Marimba_" regions to the "marimba1" tracks.
</div><div class="para">
- As you add the regions, you will learn a lot about manipulating regions in Ardour. Here are some tips to help:
+ As you add the regions, you will learn a lot about manipulating regions in <span class="application"><strong>Ardour</strong></span>. Here are some tips to help:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks.
</div></li><li class="listitem"><div class="para">
@@ -1532,17 +1584,17 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!
</div></li><li class="listitem"><div class="para">
- Choose either the "L" or "R" region. If you're using edit groups, it doesn't matter which you choose, because Ardour will realize that the regions in both tracks are "group equivalent" (that is, they're basically the same, so they probably belong together).
+ Choose either the "L" or "R" region. If you're using edit groups, it doesn't matter which you choose, because <span class="application"><strong>Ardour</strong></span> will realize that the regions in both tracks are "group equivalent" (that is, they're basically the same, so they probably belong together).
</div></li><li class="listitem"><div class="para">
Use the mouse to click in the coloured bar of the region, close to where the clarinet starts.
</div></li><li class="listitem"><div class="para">
- Ardour will automatically move the start of the region ''in both tracks''.
+ <span class="application"><strong>Ardour</strong></span> will automatically move the start of the region ''in both tracks''.
</div></li><li class="listitem"><div class="para">
Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio.
</div></li><li class="listitem"><div class="para">
If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's "non-destructive," meaning that the entire original region is still there!
</div></li><li class="listitem"><div class="para">
- Notice that when you made the first adjustment, Ardour put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. Ardour wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can ''also'' be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like Ardour stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many.
+ Notice that when you made the first adjustment, <span class="application"><strong>Ardour</strong></span> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <span class="application"><strong>Ardour</strong></span> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can ''also'' be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <span class="application"><strong>Ardour</strong></span> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many.
</div></li><li class="listitem"><div class="para">
Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag.
</div></li></ol></div>
@@ -1635,7 +1687,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
Click and drag the mouse over the "Clarinet_1"-like region in one of the tracks, to select them.
</div></li><li class="listitem"><div class="para">
- Because of the edit group, Ardour will automatically select the same area of both tracks.
+ Because of the edit group, <span class="application"><strong>Ardour</strong></span> will automatically select the same area of both tracks.
</div></li><li class="listitem"><div class="para">
We have to be sure to select all of the "Clarinet_1"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu.
</div></li><li class="listitem"><div class="para">
@@ -1722,7 +1774,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu.
</div></li><li class="listitem"><div class="para">
- Ardour will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured "Voice_2--L" and "Voice_2--R" regions.
+ <span class="application"><strong>Ardour</strong></span> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured "Voice_2--L" and "Voice_2--R" regions.
</div></li><li class="listitem"><div class="para">
Trim the rest of the original Voice_2 region, so that it starts with "golden," and does not contain any of the previous word ("flax-"). You don't need to use the range tool, but you can if you wish.
</div></li><li class="listitem"><div class="para">
@@ -1753,7 +1805,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="7.4.6.7. ens-Create_the_Inconceivable Regions" id="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Create_the_Inconceivable"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Create_the_Inconceivable">7.4.6.7. ens-Create_the_Inconceivable Regions</h4></div></div></div><div class="para">
There are two takes of the same material in this region.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because Ardour won't delete the material that you remove by trimming the region.
+ Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <span class="application"><strong>Ardour</strong></span> will not delete the material that you remove by trimming the region.
</div></li><li class="listitem"><div class="para">
Use the range tool to select the range which includes the take that you prefer.
</div></li><li class="listitem"><div class="para">
@@ -1774,7 +1826,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu.
</div></li><li class="listitem"><div class="para">
- Notice that Ardour puts > and < around the name of the region, in the canvas area.
+ Notice that <span class="application"><strong>Ardour</strong></span> puts > and < around the name of the region, in the canvas area.
</div></li><li class="listitem"><div class="para">
Also notice that you can no longer move the region with the "Select/Move Objects" tool.
</div></li></ol></div>
@@ -1802,7 +1854,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do.
</div></li><li class="listitem"><div class="para">
- Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - Ardour will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between.
+ Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <span class="application"><strong>Ardour</strong></span> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between.
</div></li><li class="listitem"><div class="para">
Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically "snap" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines.
</div></li></ul></div>
@@ -2063,7 +2115,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div></div><div class="section" title="7.6. Mastering a Session" id="sect-Musicians_Guide-Ardour-Mastering"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</h2></div></div></div><div class="para">
To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format.
</div><div class="section" title="7.6.1. Ways to Export Audio" id="sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</h3></div></div></div><div class="para">
- There are three ways to export audio from an Ardour session:
+ There are three ways to export audio from an <span class="application"><strong>Ardour</strong></span> session:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
by region,
</div></li><li class="listitem"><div class="para">
@@ -2107,9 +2159,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="7.6.2. Using the Export Window" id="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</h3></div></div></div><div class="para">
Regardless of which export method you choose, the "Export" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track).
</div><div class="section" title="7.6.2.1. Choose Which Tracks to Export" id="sect-Musicians_Guide-Ardour-Mastering-Choosing_Tracks_to_Export"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Mastering-Choosing_Tracks_to_Export">7.6.2.1. Choose Which Tracks to Export</h4></div></div></div><div class="para">
- By default, Ardour will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the "Export" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first.
+ By default, <span class="application"><strong>Ardour</strong></span> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the "Export" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first.
</div></div><div class="section" title="7.6.2.2. Choose the Export Format" id="sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format">7.6.2.2. Choose the Export Format</h4></div></div></div><div class="para">
- Ardour offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. Fedora Linux does not support MP3 files by default, for legal reasons. For more information, refer to <em class="citetitle">MP3 (Fedora Project Wiki)</em> <a href="http://fedoraproject.org/wiki/Multimedia/MP3">http://fedoraproject.org/wiki/Multimedia/MP3</a>.
+ <span class="application"><strong>Ardour</strong></span> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. Fedora Linux does not support MP3 files by default, for legal reasons. For more information, refer to <em class="citetitle">MP3 (Fedora Project Wiki)</em> <a href="http://fedoraproject.org/wiki/Multimedia/MP3">http://fedoraproject.org/wiki/Multimedia/MP3</a>.
</div><div class="para">
The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality.
</div><div class="para">
@@ -2139,7 +2191,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div></div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 8. Qtractor" id="chap-Musicians_Guide-Qtractor" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 8. Qtractor</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="#sect
-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools">8.3.2. Using the MIDI M
atrix Editor's Tools</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-JACK">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Using-Tips">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Requirements">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready">8.4.3. Getting Qtractor
Ready</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97">8.4.10. Qtractor's
Measures 75 to 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measure_97">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></div><div class="para">
Qtractor is a relatively new application, created and maintained by the same developers who are responsible for QjackCtl and Qsynth (both covered in other chapters of this Guide). It offers much more flexibility than Audacity, but is still easier to use than Ardour or Rosegarden. As such, it serves as the perfect starting-point for people first discovering software-based DAWs.
</div><div class="para">
- But Qtractor is much more than just a starting-point: its simplicity is its greatest strength. Ardour and Rosegarden, may offer more features, but Qtractor takes much less time to learn. After the initial learning-curve, you will be able to complete almost every audio or MIDI project with Qtractor. Its interface offers simple, intuitive, point-and-click interaction with clips, integrated control of JACK connections, MIDI control integration with external devices and other MIDI-aware software, and support for <code class="code">LADSPA</code>, <code class="code">DSSI</code>, native <code class="code">VSTi</code>, and <code class="code">LV2</code> plug-ins. With development progressing very quickly, Qtractor is becoming more stable and usable by the minute. The simple interface allows you to focus on creating music to suit your creative needs.
+ But Qtractor is much more than just a starting-point: its simplicity is its greatest strength. Ardour and Rosegarden, may offer more features, but Qtractor takes much less time to learn. After the initial learning-curve, you will be able to complete almost every audio or MIDI project with Qtractor. Its interface offers simple, intuitive, point-and-click interaction with clips, integrated control of JACK connections, MIDI control integration with external devices and other MIDI-aware software, and support for LADSPA, DSSI, native VSTi, and LV2 plug-ins. With development progressing very quickly, Qtractor is becoming more stable and usable by the minute. The simple interface allows you to focus on creating music to suit your creative needs.
</div><div class="para">
Beginners and advanced users alike will be pleased to see how Qtractor can work for them.
</div><div class="section" title="8.1. Requirements and Installation" id="sect-Musicians_Guide-Qtractor-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</h2></div></div></div><div class="section" title="8.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Qtractor-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
@@ -2147,9 +2199,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="8.1.2. Software Requirements" id="sect-Musicians_Guide-Qtractor-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</h3></div></div></div><div class="para">
Qtractor uses the JACK Audio Connection Kit. You should install JACK before installing Qtractor. See <a class="xref" href="#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions to install JACK.
</div></div><div class="section" title="8.1.3. Hardware Requirements" id="sect-Musicians_Guide-Qtractor-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</h3></div></div></div><div class="para">
- You need an audio interface to use Qtractor. If you will record audio with Qtractor, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other JACK-aware programs like <code class="code">FluidSynth</code> and <code class="code">SuperCollider</code>.
+ You need an audio interface to use Qtractor. If you will record audio with Qtractor, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other JACK-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="8.1.4. Other Requirements" id="sect-Musicians_Guide-Qtractor-Other_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</h3></div></div></div><div class="para">
- You need a MIDI synthesizer to use Qtractor as a MIDI sequencer. You can use hardware-based and software-based synthesizers with Qtractor. We recommend using the software-based <code class="code">FluidSynth</code> MIDI synthesizer. See <a class="xref" href="#chap-Musicians_Guide-FluidSynth" title="Chapter 10. FluidSynth">Chapter 10, <i>FluidSynth</i></a> for information about <code class="code">FluidSynth</code>.
+ You need a MIDI synthesizer to use Qtractor as a MIDI sequencer. You can use hardware-based and software-based synthesizers with Qtractor. We recommend using the software-based <span class="application"><strong>FluidSynth</strong></span> MIDI synthesizer. See <a class="xref" href="#chap-Musicians_Guide-FluidSynth" title="Chapter 10. FluidSynth">Chapter 10, <i>FluidSynth</i></a> for information about <span class="application"><strong>FluidSynth</strong></span>.
</div></div><div class="section" title="8.1.5. Installation" id="sect-Musicians_Guide-Qtractor-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</h3></div></div></div><div class="para">
Qtractor is not available from the Fedora software repositories. Qtractor is available from the "Planet CCRMA at Home" and "RPM Fusion" repositories. If you have already enabled one of those repositories, you should install Qtractor from that repository. If you have not already enabled one of those repositories, we recommend that you install Qtractor from the "Planet CCRMA at Home" repository. See <a class="xref" href="#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a> for instructions to enable the "Planet CCRMA at Home" repository. The "Planet CCRMA at Home" repository contains a wide variety of music and audio applications.
</div><div class="para">
@@ -2189,7 +2241,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
The default metronome sound is provided by the "MIDI Metronome," and you can adjust its settings here. In particular, you may wish to provide a "Dedicated MIDI metronome output," to help you separate the metronome's signal.
</div></div><div class="section" title="8.2.3. Configuring MIDI Channel Names" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</h3></div></div></div><div class="para">
- If you're using "<code class="code">FluidSynth</code>" with QSynth, you should tell Qtractor about the SoundFont that you're using. When you do this, you enable Qtractor to help you choose instruments ("patches").
+ If you're using "<span class="application"><strong>FluidSynth</strong></span>" with QSynth, you should tell Qtractor about the SoundFont that you're using. When you do this, you enable Qtractor to help you choose instruments ("patches").
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Click on 'View > Instruments'
</div></li><li class="listitem"><div class="para">
@@ -2325,7 +2377,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
Qtractor automatically starts JACK, unless it is already running.
</div></div><div class="section" title="8.3.4. Exporting a Whole File (Audio and MIDI Together)" id="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exporting a Whole File (Audio and MIDI Together)</h3></div></div></div><div class="para">
- Qtractor can export all of a session's audio clips as one audio file, but it cannot export the MIDI clips directly into that audio file. This is because Qtractor does not synthesize audio from MIDI signals, but uses an external MIDI synthesizer to do this. Thankfully, there is a relatively simple way to overcome this, allowing both audio and MIDI to be exported in the same audio file: use Qtractor to record the audio signal produced by the MIDI synthesizer. This procedure only works if you use a MIDI synthesizer (like <code class="code">FluidSynth</code>) which outputs its audio signal to JACK.
+ Qtractor can export all of a session's audio clips as one audio file, but it cannot export the MIDI clips directly into that audio file. This is because Qtractor does not synthesize audio from MIDI signals, but uses an external MIDI synthesizer to do this. Thankfully, there is a relatively simple way to overcome this, allowing both audio and MIDI to be exported in the same audio file: use Qtractor to record the audio signal produced by the MIDI synthesizer. This procedure only works if you use a MIDI synthesizer (like <span class="application"><strong>FluidSynth</strong></span>) which outputs its audio signal to JACK.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Create a new audio track in Qtractor by clicking on 'Track > Add Track'.
</div></li><li class="listitem"><div class="para">
@@ -2361,7 +2413,15 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
In the matrix editor window, you can adjust the "velocity" (loudness) of a note by using the "Resize" MIDI Tool (see <a class="xref" href="#sect-Musicians_Guide-Qtractor-Using-MIDI_Tools" title="8.3.2. Using the MIDI Matrix Editor's Tools">Section 8.3.2, “Using the MIDI Matrix Editor's Toolsâ€</a> above)
</div><div class="para">
- If you find it difficult to work with Qtractor's matrix editor, but you find it easy to work with LilyPond, you can use this to your advantage. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this: [pre] \score { ... \midi { } } [/pre] You can import LilyPond's MIDI output by clicking 'Track > Import Tracks > MIDI' in Qtractor.
+ If you find it difficult to work with Qtractor's matrix editor, but you find it easy to work with LilyPond, you can use this to your advantage. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this:
+<pre class="programlisting">
+\score
+{
+ ...
+ \midi { }
+}
+</pre>
+ You can import LilyPond's MIDI output by clicking 'Track > Import Tracks > MIDI' in Qtractor.
</div></div></div></div><div class="section" title="8.4. Creating a MIDI Composition (Tutorial)" id="sect-Musicians_Guide-Qtractor-Tutorial"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Qtractor-Tutorial">8.4. Creating a MIDI Composition (Tutorial)</h2></div></div></div><div class="para">
We've created a demonstration of what a first-time user might try for their first project with Qtractor. The following sequences demonstrate the decision-making, and the various features that could be learned. This does not attempt to show a generic method for creation, but rather the specific way that I created a new composition with the inspiration stated below.
</div><div class="section" title="8.4.1. Inspiration" id="sect-Musicians_Guide-Qtractor-Tutorial-Inspiration"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</h3></div></div></div><div class="para">
@@ -2719,7 +2779,15 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div></div></div><div class="section" title="9.3. Rosegarden and LilyPond" id="sect-Musicians_Guide-Rosegarden_and_LilyPond"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</h2></div></div></div><div class="para">
- Rosegarden and LilyPond can be used together, which can greatly enhace your productivity. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this: [pre] \score { ... \midi { } } [/pre] This MIDI file can then be imported into Rosegarden by selecting from the menu 'File > Import > Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once.
+ Rosegarden and LilyPond can be used together, which can greatly enhace your productivity. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this:
+<pre class="programlisting">
+\score
+{
+ ...
+ \midi { }
+}
+</pre>
+ This MIDI file can then be imported into Rosegarden by selecting from the menu 'File > Import > Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once.
</div><div class="para">
It is also possible to export MIDI tracks to LilyPond format, which can then be edited further or simply turned into a score. To do this, from the menu select 'File > Export > Export LilyPond File'. After you select a location to save the file, Rosegarden allows you to control some score settings while exporting. After exporting a LilyPond file, you should inspect it with Frescobaldi before relying on it to be correct - computers sometimes make mistakes!
</div></div><div class="section" title="9.4. Write a Song in Rosegarden (Tutorial)" id="sect-Musicians_Guide-Rosegarden-Tutorial"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden-Tutorial">9.4. Write a Song in Rosegarden (Tutorial)</h2></div></div></div><div class="para">
@@ -3121,7 +3189,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
To close an additional instance, use the red "X" near the lower-right corner.
</div></li></ol></div><div class="para">
Each instance of the FluidSynth engine has its own settings in the "Setup" window. Qsynth supports a theoretically unlimited number of FluidSynth instances, but your computer's memory will probably not allow many more than ten, depending on the SoundFonts used.
- </div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 11. SuperCollider" id="chap-Musicians_Guide-SuperCollider" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 11. SuperCollider</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class=
"section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Ot
her Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented SuperCollider</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Gui
de-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_
Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing
the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-S
C-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></div><div class="para">
+ </div></div></div><div xml:lang="en-US" class="chapter" title="Chapter 11. SuperCollider" id="chap-Musicians_Guide-SuperCollider" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 11. SuperCollider</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Requirements_and_Installation">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements">11.2.3. Hardware Requirements</a></span></dt><dt><span class=
"section"><a href="#sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">11.3.4. Ot
her Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Aud
io">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Ot
her Synth Features</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Inspiration">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_First_Part">11.5.3. Designing the First Part</a></span></dt><dt><span class
="section"><a href="#sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="#sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exp
orting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="#sect-Musicians_Guide-SC-Recording_SuperColliders_Output">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></div><div class="para">
SuperCollider is many things, but above all:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
An audio synthesis engine,
@@ -3250,7 +3318,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
To install the minimum recommended installation for SuperCollider:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- In a terminal, run [pre]su -c 'yum install supercollider supercollider-gedit'[/pre]
+ In a terminal, run <code class="command">su -c 'yum install supercollider supercollider-gedit'</code>
</div></li><li class="listitem"><div class="para">
Review the proposed installation carefully. The list may be quite long, and require a large download.
</div></li></ol></div>
@@ -3276,13 +3344,24 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 3"><div class="para">
If you cannot see the window at the bottom, then select 'View > Bottom Pane' from the menu, so that it shows up. It is sometimes important to see the information that SuperCollider provides in this window.
</div></li><li class="step" title="Step 4"><div class="para">
- After enabling SuperCollider mode, the window should display a series of notices. Near the end should be something like this: [pre]RESULT = 0 Welcome to SuperCollider, for help type ctrl-c ctrl-h (Emacs) or :SChelp (vim) or ctrl-U (sced/gedit)[/pre] If this window gives a non-zero value for "RESULT," then an error has probably occurred, and you should scroll up to see what it is, and try to fix it. If you receive the following warning: "The GUI scheme 'swing' is not installed" then you will not be able to run any SuperCollider prorams that use a GUI (graphical user interface). The GUI components are not used anywhere in this Guide, and they are highly optional.
+ After enabling SuperCollider mode, the window should display a series of notices. Near the end should be something like this:
+<pre class="programlisting">
+RESULT = 0
+Welcome to SuperCollider, for help type ctrl-c ctrl-h (Emacs) or :SChelp (vim) or ctrl-U (sced/gedit)
+</pre>
+ If this window gives a non-zero value for "RESULT," then an error has probably occurred, and you should scroll up to see what it is, and try to fix it. If you receive the following warning: "The GUI scheme 'swing' is not installed" then you will not be able to run any SuperCollider prorams that use a GUI (graphical user interface). The GUI components are not used anywhere in this Guide, and they are highly optional.
</div></li><li class="step" title="Step 5"><div class="para">
You will probably also want to start a server at this point, so from the menu select 'SuperCollider > Start Server'.
</div></li><li class="step" title="Step 6"><div class="para">
After the server starts, you should see messages from "JackDriver". If a JACK server is not already started, then SuperCollider will start one automatically.
</div></li><li class="step" title="Step 7"><div class="para">
- If the SuperCollider server started successfully, you should see a message similar to this: [pre]SuperCollider 3 server ready.. JackDriver: max output latency 46.4 ms notification is on[/pre]
+ If the SuperCollider server started successfully, you should see a message similar to this:
+<pre class="programlisting">
+SuperCollider 3 server ready..
+JackDriver: max output latency 46.4 ms
+notification is on
+</pre>
+
</div></li></ol></div></div><div class="section" title="11.3.3. Executing Code in GEdit" id="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code">11.3.3. Executing Code in GEdit</h3></div></div></div><div class="para">
You can execute code directly from GEdit, without having to use "sclang" from the command-line.
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
@@ -3316,18 +3395,18 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
- </div></div></div><div xml:lang="en-US" class="section" title="11.4. Basic Programming in SuperCollider" id="sect-Musicians_Guide-SuperCollider-Basic_Programming" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in SuperCollider</h2></div></div></div><div class="para">
- As with any programming language, you will start learning SuperCollider with the basic commands, that are of little use by themselves. However, since the language is so flexible, even the most basic commands can be combined in ways that create highly complex behaviours. The example program, "Method One," was written with the goal of illustrating how a single sound-generating object can be used to create an entire composition. This tutorial does not begin with audio-generating code, which helps to emphasize that SuperCollider is primarily a programming language.
+ </div></div></div><div xml:lang="en-US" class="section" title="11.4. Basic Programming in SuperCollider" id="sect-Musicians_Guide-SuperCollider-Basic_Programming" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></h2></div></div></div><div class="para">
+ As with any programming language, you will start learning <span class="application"><strong>SuperCollider</strong></span> with the basic commands, that are of little use by themselves. However, since the language is so flexible, even the most basic commands can be combined in ways that create highly complex behaviours. The example program, "Method One," was written with the goal of illustrating how a single sound-generating object can be used to create an entire composition. This tutorial does not begin with audio-generating code, which helps to emphasize that <span class="application"><strong>SuperCollider</strong></span> is primarily a programming language.
</div><div class="para">
- This portion of the Guide is designed as a "reference textbook," which you can use both to learn the SuperCollider language in the first place, and to remind yourself about the language's features afterwards.
+ This portion of the Guide is designed as a "reference textbook," which you can use both to learn the <span class="application"><strong>SuperCollider</strong></span> language in the first place, and to remind yourself about the language's features afterwards.
</div><div class="para">
- The Guide will probably be most effective when read only in small portions at once.
- </div><div class="section" title="11.4.1. First Steps" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</h3></div></div></div><div class="section" title="11.4.1.1. The Different Parts of SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider">11.4.1.1. The Different Parts of SuperCollider</h4></div></div></div><div class="para">
- As you discovered when installing SuperCollider, there are actually many different components involved with SuperCollider. Here is a list of some of them, with brief descriptions of their purpose:
+ The section is most effective when read in small portions.
+ </div><div class="section" title="11.4.1. First Steps" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</h3></div></div></div><div class="section" title="11.4.1.1. The Different Parts of SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider">11.4.1.1. The Different Parts of <span class="application"><strong>SuperCollider</strong></span></h4></div></div></div><div class="para">
+ As you discovered when installing <span class="application"><strong>SuperCollider</strong></span>, there are actually many different components involved with <span class="application"><strong>SuperCollider</strong></span>. Here is a list of some of them, with brief descriptions of their purpose:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Programming language: this is an abstract set of rules and guidelines that allow you to write down instructions for producing sounds.
</div></li><li class="listitem"><div class="para">
- Interpreter: this is what is run in GEdit; it transforms the "programming language" instructions written by you into useful instructions for the server; also called the "client."
+ Interpreter: this is what is run in <span class="application"><strong>GEdit</strong></span>; it transforms the programming language instructions written by you into useful instructions for the server; also called the "client."
</div></li><li class="listitem"><div class="para">
Server: this is what synthesizes the sound, according to instructions sent to it by the interpreter.
</div></li><li class="listitem"><div class="para">
@@ -3337,23 +3416,32 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
This modular design allows for several advanced capabilities and features. Any particular element could theoretically be replaced without affecting other elements, as long as the methods of communication remain the same. As long as the programming language is the same, portions of the library can be modified, removed, or added at will; this happens often, and Planet CCRMA at Home provides a collection of library extensions. One of the most exciting capabilities is the ability to run the interpreter and server on different physical computers. The networking component is built into these components - they always communicate by UDP or TCP, even when run on the same computer! Although this ability is not used in this Guide, it is not difficult.
</div><div class="para">
- The most important thing to remember is that the SuperCollider interpreter is what deals with the programs you write. The SuperCollider server is controlled by the interpreter, but is an independent program. For simple things, like the Hello World Programs below, the server is not even used - after all, there is no audio for it to synthesize.
+ The most important thing to remember is that the <span class="application"><strong>SuperCollider</strong></span> interpreter is what deals with the programs you write. The <span class="application"><strong>SuperCollider</strong></span> server is controlled by the interpreter, but is an independent program. For simple things, like the Hello World Programs below, the server is not even used - after all, there is no audio for it to synthesize.
</div></div><div class="section" title="11.4.1.2. "Hello, World!"" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World">11.4.1.2. "Hello, World!"</h4></div></div></div><div class="para">
- The first program that one traditionally makes when learning a new programming language is called "The Hello World Program." This is a simple and trivial application that simply prints outs the phrase, "Hello, World!" (or any variation of it). It might seem useless at first, but the ability to provide feedback to an application's user is very important, and this is essentially what the Hello World Program does.
+ The first program that one traditionally makes when learning a new programming language is called "The Hello World Program." This is a simple and trivial application that simply prints outs the phrase, <code class="literal">Hello, World!</code> (or a variation of it). It might seem useless at first, but the ability to provide feedback to an application's user is very important, and this is essentially what the Hello World Program does.
</div><div class="para">
- Here is the program in SuperCollider: [pre] "Hello, World!".postln; [/pre]
+ Here is the program in <span class="application"><strong>SuperCollider</strong></span>:
+<pre class="programlisting">
+"Hello, World!".postln;
+</pre>
+
</div><div class="para">
- Here is an extension to that program: [pre] "Hello, World!".postln; "Hello, SC!".postln; [/pre]
+ Here is an extension to that program:
+<pre class="programlisting">
+"Hello, World!".postln;
+"Hello, SC!".postln;
+</pre>
+
</div><div class="para">
- As with all examples in this Guide, you should paste these programs into GEdit, and execute them with SuperCollider. Look at the output produced by the programs, but don't worry about it for now.
+ As with all examples in this section, you should paste these programs into <span class="application"><strong>GEdit</strong></span>, and execute them with <span class="application"><strong>SuperCollider</strong></span>. Look at the output produced by the programs, but don't worry about it for now.
</div><div class="para">
- These programs are very small, but it highlights some key concepts of the SuperCollider language, described below.
+ These programs are very small, but it highlights some key concepts of the <span class="application"><strong>SuperCollider</strong></span> language, described below.
</div></div><div class="section" title="11.4.1.3. Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values">11.4.1.3. Return Values</h4></div></div></div><div class="para">
- Every SuperCollider program must provide the interpreter with a value (some information) when it has carried out all of its instructions. This value is called a "return value," because it is the value given by a program when it "returns" control to the interpreter. In a SuperCollider program, it is the last value stated in a program that automatically becomes the return value - no special command is required. When program execution ends, and control is returned to the SuperCollider interpreter, the interpreter outputs the return value in the "SuperCollider output" pane.
+ Every <span class="application"><strong>SuperCollider</strong></span> program must provide the interpreter with a value (some information) when it has carried out all of its instructions. This value is called a "return value," because it is the value given by a program when it "returns" control to the interpreter. In a <span class="application"><strong>SuperCollider</strong></span> program, it is the last value stated in a program that automatically becomes the return value - no special command is required. When program execution ends, and control is returned to the <span class="application"><strong>SuperCollider</strong></span> interpreter, the interpreter outputs the return value in the "SuperCollider output" pane.
</div><div class="para">
- In the single-line Hello World Program above, the program produces the following output: [pre]Hello, World! Hello, World![/pre] The program appears to have been executed twice, but that is not the case. The first "Hello, World!" is printed by the program. The second "Hello, World!" appears because <code class="code">"Hello, World!.postln</code> is the last (in this case, the only) value of the program. It is "returned" by the program, and the interpreter prints it.
+ In the single-line Hello World Program above, the program produces the following output: <code class="computeroutput"> Hello, World! Hello, World! </code> The program appears to have been executed twice, but that is not the case. The first <code class="literal">Hello, World!</code> is printed by the program. The second <code class="literal">Hello, World!</code> appears because <code class="code">"Hello, World!.postln</code> is the last (in this case, the only) value of the program. It is "returned" by the program, and the interpreter prints it.
</div><div class="para">
- In the two-line Hello World Program above, the program produces the following output: [pre] Hello, World! Hello, SC! Hello, SC! [/pre] This makes it more clear that the program is not being executed twice, and that it is the last value of a program that is returned to the interpreter.
+ In the two-line Hello World Program above, the program produces the following output: <code class="computeroutput"> Hello, World! Hello, SC! Hello, SC! </code> This makes it more clear that the program is not being executed twice, and that it is the last value of a program that is returned to the interpreter.
</div><div class="para">
Try executing the following single-line programs. Look at the output produced by each, and determine whether it is printed by the program itself, the interpreter, or both.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -3367,17 +3455,17 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
Can you modify the two-line Hello World Program so that each line is printed only once?
</div><div class="para">
- Note: In reality, every "function" must return a value. Functions are described later in this Guide; the difference is not yet important.
+ In reality, every "function" must return a value. Functions are described in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions" title="11.4.2.3. Functions">Section 11.4.2.3, “Functionsâ€</a>, but the difference is not yet important.
</div></div><div class="section" title="11.4.1.4. Statements" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements">11.4.1.4. Statements</h4></div></div></div><div class="para">
- A "statement" is a single instruction, which is always ended with a semicolon. Exactly what constitutes a statement will become clear as you gain experience, and including semicolons will quickly become an automatic action.
+ A "statement" is a single instruction, which always ends with a semicolon. Exactly what constitutes a statement will become clear as you gain experience, and you will eventually automatically remember the semicolon.
</div><div class="para">
- In the Hello World Programs above, all of the statements contain the single instruction to post a line to the output screen. What happens when you remove the first semicolon, which marks the end of the first statement? The SuperCollider interpreter produces an unhelpful error message, and tells you that an error occurred ''after'' the forgotten semicolon. This is why it is important to always remember statement-concluding semicolons.
+ In the Hello World Programs above, all of the statements contain the single instruction to post a line to the output screen. What happens when you remove the first semicolon, which marks the end of the first statement? The <span class="application"><strong>SuperCollider</strong></span> interpreter produces an unhelpful error message, and tells you that an error occurred ''after'' the forgotten semicolon. This is why it is important to always remember statement-concluding semicolons.
</div></div><div class="section" title="11.4.1.5. Data Types: Numbers and Strings" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings">11.4.1.5. Data Types: Numbers and Strings</h4></div></div></div><div class="para">
- In many programming languages, it is the programmer's responsibility to determine the type of data that is being used, and how it should be stored. The SuperCollider interpreter takes advantage of the power of modern computers, and deals with this on our behalf. This greatly simplifies basic tasks, because there are only two kinds of data to worry about, and they make perfect sense:
+ In many programming languages, it is the programmer's responsibility to determine the type of data that is being used, and how it should be stored. The <span class="application"><strong>SuperCollider</strong></span> interpreter takes advantage of the power of modern computers, and deals with this on our behalf. This greatly simplifies basic tasks, because there are only two kinds of data to worry about, and they make perfect sense:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- Numbers: These are numbers, written simply as numbers. Anything that can be done with real-world numbers can also be done with SuperCollider's numbers. They can be as large or small, positive or negative as you want. They can have any number of digits on either side of the decimal point.
+ Numbers: These are numbers, written simply as numbers. Anything that can be done with real-world numbers can also be done with <span class="application"><strong>SuperCollider</strong></span>'s numbers. They can be as large or small, positive or negative as you want. They can have any number of digits on either side of the decimal point.
</div></li><li class="listitem"><div class="para">
- Strings: These are a string of characters, written between two double-quote characters like "this." The double-quote characters are required so that SuperCollider knows where to begin and end the string of characters. A string of character can contain as many characters as you like, including one character and no characters. If you want to include a double-quote character in a string, you should put a blackslash before it. The following is interpreted by SuperCollider as a string with only a double-quote character: <code class="code">"\""</code>
+ Strings: These are a string of characters, written between two double-quote characters like "this." The double-quote characters are required so that <span class="application"><strong>SuperCollider</strong></span> knows where to begin and end the string of characters. A string of character can contain as many characters as you like, including one character and no characters. If you want to include a double-quote character in a string, you should put a blackslash before it. The following is interpreted by <span class="application"><strong>SuperCollider</strong></span> as a string with only a double-quote character: <code class="code">"\""</code>
</div></li></ul></div>
</div><div class="para">
@@ -3399,9 +3487,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
</div><div class="para">
- Is the last example a number or a string? You and I recognize that it is a number inside a string, but SuperCollider will only treat it as a string. You can do string things with it, but you cannot do number things with it. You cannot add <code class="code">"6"</code> to something, for example. Notice also that each example ends with a semicolon, which makes them complete statements. The statements don't do anything but represent themselves.
+ Is the last example a number or a string? You and I recognize that it is a number inside a string, but <span class="application"><strong>SuperCollider</strong></span> will only treat it as a string. You can do string things with it, but you cannot do number things with it. You cannot add <code class="code">"6"</code> to something, for example. Notice also that each example ends with a semicolon, which makes them complete statements. The statements don't do anything but represent themselves.
</div><div class="para">
- Try executing the following single-line programs. Think about why the SuperCollider interpreter produces the output that it does.
+ Try executing the following single-line programs. Think about why the <span class="application"><strong>SuperCollider</strong></span> interpreter produces the output that it does.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
<code class="code">6 + 3;</code>
</div></li><li class="listitem"><div class="para">
@@ -3411,9 +3499,20 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
</div></div><div class="section" title="11.4.1.6. Consecutive Execution" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution">11.4.1.6. Consecutive Execution</h4></div></div></div><div class="para">
- Complex SuperCollider programs contain many parts, which all do different things. Sometimes, executing all of these together doesn't make sense, and it can be difficult to know which portions of the program are supposed to be executed when. To help with this, the interpreter allows you to mark portions of your program between ( and ) so that you will know to execute them together.
- </div><div class="para">
- Here is an example: [pre] ( "Hello, Fred!".postln; "Hello, Wilma!".postln; ) ( "Goodbye, Fred!".postln; "Goodbye, Wilma!".postln; ) [/pre] It doesn't make sense to say "hello" and "goodbye" at the same time, so separating these sections with parentheses will serve as a reminder. In case we try to execute all of the code at once, the SuperCollider interpreter will give us an error.
+ Complex <span class="application"><strong>SuperCollider</strong></span> programs contain many parts, which all do different things. Sometimes, executing all of these together doesn't make sense, and it can be difficult to know which portions of the program are supposed to be executed when. To help with this, the interpreter allows you to mark portions of your program between ( and ) so that you will know to execute them together.
+ </div><div class="para">
+ Here is an example:
+<pre class="programlisting">
+(
+ "Hello, Fred!".postln;
+ "Hello, Wilma!".postln;
+)
+(
+ "Goodbye, Fred!".postln;
+ "Goodbye, Wilma!".postln;
+)
+</pre>
+ It doesn't make sense to say "hello" and "goodbye" at the same time, so separating these sections with parentheses will serve as a reminder. In case we try to execute all of the code at once, the <span class="application"><strong>SuperCollider</strong></span> interpreter will give us an error.
</div></div></div><div class="section" title="11.4.2. Variables and Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions">11.4.2. Variables and Functions</h3></div></div></div><div class="para">
The concepts in this section are related to the mathematical terms with the same names. This is a modern-day result of the first uses of computers and programming languages: the calculation of complex mathematical problems.
</div><div class="section" title="11.4.2.1. Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Variables">11.4.2.1. Variables</h4></div></div></div><div class="para">
@@ -3423,7 +3522,18 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
SuperCollider's variables work in the same way: you tell the interpreter that you want to use a symbol, like <code class="code">cheese</code>. Then you assign <code class="code">cheese</code> a value, like <code class="code">5</code>. After that point, whenever you use <code class="code">cheese</code>, the interpreter will automatically know that what you really mean is <code class="code">5</code>.
</div><div class="para">
- Run the following two programs. They should result in the same output. [pre] ( 5 + 5; ) [/pre] [pre] ( var cheese; cheese = 5; cheese + cheese; ) [/pre]
+ Run the following two programs. They should result in the same output.
+<pre class="programlisting">
+(
+ 5 + 5;
+)
+(
+ var x;
+ x = 5;
+ x + x;
+)
+</pre>
+
</div><div class="para">
In the first example, the program calculates the value of <code class="code">5 + 5</code>, which is <code class="code">10</code>, and returns that to the interpreter, which prints it out. In the second example, the program tells the interpreter that it wants to use a variable called <code class="code">cheese</code> then it assigns cheese the value <code class="code">5</code>. Finally, the program calculates <code class="code">cheese + cheese</code>, which it understands as meaning <code class="code">5 + 5</code>, and returns <code class="code">10</code> to the interpreter, which prints it out.
</div><div class="para">
@@ -3431,13 +3541,21 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="11.4.2.2. Using Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables">11.4.2.2. Using Variables</h4></div></div></div><div class="para">
There are three words that describe the key stages of using a variable: declaration, initialization, and assignment.
</div><div class="para">
- A variable must be declared before use, so that the interpreter knows that you want to use that symbol as a variable. All variables must be declared before any statement that does not declare a variable; in other words, you should declare your variables before doing anything else. Variable names are declared like this: [pre]var variableName;[/pre] Variables can also be declared in lists, like this: [pre]var variableOne, variableTwo;[/pre]
+ A variable must be declared before use, so that the interpreter knows that you want to use that symbol as a variable. All variables must be declared before any statement that does not declare a variable; in other words, you should declare your variables before doing anything else. Variable names are declared like this:
+<pre class="programlisting">var <em class="replaceable"><code>variableName</code></em>;</pre>
+ Variables can also be declared in lists, like this:
+<pre class="programlisting">var <em class="replaceable"><code>variableName</code></em>, <em class="replaceable"><code>variableOtherName</code></em>;</pre>
+
</div><div class="para">
Variables can be assigned a value at any time after they have been declared. Any single object can be assigned to a variable. If a variable is already assigned a value, any subsequent assignment will erase the previous assignment; the previously-assigned value will is not retrievable.
</div><div class="para">
- The first assignment to a variable is said to "initialize" the variable. Initialization is a special kind of assignment, because a variable cannot be used before it is initialized. If a program attempts to use an un-initialized variable, the SuperCollider interpreter will cause an error. For this reason, you should always initialize a variable when you declare it. There is a special way to do this: [pre]var variableName = nil;[/pre] Since you can't always assign a useful value, you can pick an arbitrary one. Assigning "nil" is common practice, because it means "nothing," but without actually being nothing (this avoids ''some'' errors). Assigning zero is another possibility; it is standard practice in many programming languages, and will avoid most errors, even if the variable is eventually supposed to hold another kind of object. Intialization and declaration of multiple variables can also be done as a list: [pre]var variableOne = 0, variableTwo = 0;[/pre]
+ The first assignment to a variable is said to "initialize" the variable. Initialization is a special kind of assignment, because a variable cannot be used before it is initialized. If a program attempts to use an un-initialized variable, the <span class="application"><strong>SuperCollider</strong></span> interpreter will cause an error. For this reason, you should always initialize a variable when you declare it. There is a special way to do this:
+<pre class="programlisting">var <em class="replaceable"><code>variableName</code></em> = nil;</pre>
+ Since you can't always assign a useful value, you can pick an arbitrary one. Assigning "nil" is common practice, because it means "nothing," but without actually being nothing (this avoids ''some'' errors). Assigning zero is another possibility; it is standard practice in many programming languages, and will avoid most errors, even if the variable is eventually supposed to hold another kind of object. Intialization and declaration of multiple variables can also be done as a list:
+<pre class="programlisting">var <em class="replaceable"><code>variableName</code></em> = 0, <em class="replaceable"><code>variableOtherName</code></em> = 0;</pre>
+
</div><div class="para">
- Single-letter variable names have a special purpose in SuperCollider. They are already declared, so you don't have to declare them. They are also already initialized to "nil", so you don't have to do that either. These variable names are intended to be used as a quick fix, while you're experimenting with how to make a program work. You should not use them in good-quality programs.
+ Single-letter variable names have a special purpose in <span class="application"><strong>SuperCollider</strong></span>. They are already declared, so you don't have to declare them. They are also already initialized to "nil", so you don't have to do that either. These variable names are intended to be used as a quick fix, while you're experimenting with how to make a program work. You should not use them in good-quality programs.
</div><div class="para">
The single-letter variable "s" is automatically assigned to the server on the computer running the interpreter. You should avoid re-assigning that variable.
</div><div class="para">
@@ -3455,13 +3573,35 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="11.4.2.3. Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions">11.4.2.3. Functions</h4></div></div></div><div class="para">
A Function is a statement, or a series of statements, that we want to use many times. When a Function is assigned to a variable, you can execute the Function as many times as you wish. Any statements that happen between braces { like this; } are treated as a Function. Functions are executed by passing them the "value" message, as in the following example.
</div><div class="para">
- Here is a Function that is not assigned to a variable, and is executed once. [pre]{ "Hello, World!".postln; }.value;[/pre] Notice that there are two semicolons: one after the statement within the Function, and one after the "value" message that tells the Function to execute.
+ Here is a Function that is not assigned to a variable, and is executed once.
+<pre class="programlisting">{ "Hello, World!".postln; }.value;</pre>
+ Notice that there are two semicolons: one after the statement within the Function, and one after the "value" message that tells the Function to execute.
</div><div class="para">
- Here is a Function with identical function, assigned to a variable, and executed twice. [pre] var myFunction = { "Hello, World!".postln; }; // note two semicolons myFunction.value; myFunction.value; [/pre]
+ Here is a Function with identical function, assigned to a variable, and executed twice.
+<pre class="programlisting">
+var myFunction = { "Hello, World!".postln; }; // note two semicolons
+myFunction.value;
+myFunction.value;
+</pre>
+
</div></div><div class="section" title="11.4.2.4. Function Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments">11.4.2.4. Function Arguments</h4></div></div></div><div class="para">
- The most useful aspect of Functions is that they can produce varying results, depending on their input. For whatever reason, the input accepted by a Function is called an "argument." SuperCollider's Functions can accept any number of arguments - zero, one, or many. Argument values (called "parameters") are provided to a Function by adding them in parentheses after the name of the Function, separated with commas, like this: <code class="code">exampleFunction( 5, 7, 9 );</code> Argument variables are declared as the first statement in a Function, like this: <code class="code">arg oneNumber, twoNumber;</code>
+ The most useful aspect of Functions is that they can produce varying results, depending on their input. For whatever reason, the input accepted by a Function is called an "argument." <span class="application"><strong>SuperCollider</strong></span>'s Functions can accept any number of arguments - zero, one, or many. Argument values (called "parameters") are provided to a Function by adding them in parentheses after the name of the Function, separated with commas, like this: <code class="code">exampleFunction( 5, 7, 9 );</code> Argument variables are declared as the first statement in a Function, like this: <code class="code">arg oneNumber, twoNumber;</code>
</div><div class="para">
- This program is significantly more complicated than previous examples, but it shows how useful Functions can be. Notice how the braces in that example are on different lines than the rest of the Function, which gives us more space within the Function to complete some useful work. [pre] ( var greeter = { arg name; ( "Hello" + name ).postln; }; greeter.value( "Samantha" ); greeter.value( "Jermain" ); nil; ) [/pre] Here is how the program works:
+ This program is significantly more complicated than previous examples, but it shows how useful Functions can be. Notice how the braces in that example are on different lines than the rest of the Function, which gives us more space within the Function to complete some useful work.
+<pre class="programlisting">
+(
+ var greeter =
+ {
+ arg name;
+ ( "Hello" + name ).postln;
+ };
+
+ greeter.value( "Samantha" );
+ greeter.value( "Jermain" );
+ nil;
+)
+</pre>
+ Here is how the program works:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
A variable named <code class="code">greeter</code> is declared, and assigned a Function.
</div></li><li class="listitem"><div class="para">
@@ -3475,17 +3615,48 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div><div class="para">
- Since every argument has a name, SuperCollider allows you to use that name when executing the Function. This example executes the <code class="code">greeter</code> Function from the last example: [pre]greeter.value( name:"Myung-Whun" );[/pre] This is more useful if there are many arguments, and you do not remember the order that they appear in the Function's definition.
+ Since every argument has a name, <span class="application"><strong>SuperCollider</strong></span> allows you to use that name when executing the Function. This example executes the <code class="code">greeter</code> Function from the last example: <code class="code">greeter.value( name:"Myung-Whun" );</code> This is more useful if there are many arguments, and you do not remember the order that they appear in the Function's definition.
</div><div class="para">
- SuperCollider also allows you to specify default values for arguments, so that they do not need to be specified. This allows optional customization of a Function's behaviour, and is therefore very powerful.
+ <span class="application"><strong>SuperCollider</strong></span> also allows you to specify default values for arguments, so that they do not need to be specified. This allows optional customization of a Function's behaviour, and is therefore very powerful.
</div><div class="para">
- This example modifies the one above by adding default-value arguments, and by calling arguments with their name. As you can see, I've been tricking you a bit: <code class="code">postln</code> is actually a Function, but a special kind, explained later. [pre] ( var greeter = { arg name, greeting = "Hello"; postln( greeting + name ); }; greeter.value( "Samantha" ); greeter.value( "Jermain", "Goodbye" ); greeter.value( name:"Myung-Whun" ); greeter.value( greeting:"Bienvenue", name:"Marcel" ); nil; ) [/pre]
+ This example modifies the one above by adding default-value arguments, and by calling arguments with their name. As you can see, I've been tricking you a bit: <code class="code">postln</code> is actually a Function, but a special kind, explained later.
+<pre class="programlisting">
+(
+ var greeter =
+ {
+ arg name, greeting = "Hello";
+ postln( greeting + name );
+ };
+
+ greeter.value( "Samantha" );
+ greeter.value( "Jermain", "Goodbye" );
+ greeter.value( name:"Myung-Whun" );
+ greeter.value( greeting:"Bienvenue", name:"Marcel" );
+ nil;
+)
+</pre>
+
</div><div class="para">
Any value can be used as a parameter, as long as the Function expects it. In fact, even Functions can be used as parameters for Functions!
</div></div><div class="section" title="11.4.2.5. Function Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values">11.4.2.5. Function Return Values</h4></div></div></div><div class="para">
- All SuperCollider Functions return a value to the interpreter when they have finished execution. As with programs, the value returned is the value of the last statement in the Function. The return value of a Function can be captured, assigned to a variable, and used again later.
+ All <span class="application"><strong>SuperCollider</strong></span> Functions return a value to the interpreter when they have finished execution. As with programs, the value returned is the value of the last statement in the Function. The return value of a Function can be captured, assigned to a variable, and used again later.
</div><div class="para">
- This example assigns the result of a Function to a variable. [pre] ( var mysticalMath = { arg input = 0; input * 23; }; var someNumber = 9; someNumber = mysticalMath.value( someNumber ); someNumber.postln; nil; ) [/pre] Here is how the program works:
+ This example assigns the result of a Function to a variable.
+<pre class="programlisting">
+(
+ var mysticalMath =
+ {
+ arg input = 0;
+ input * 23;
+ };
+ var someNumber = 9;
+
+ someNumber = mysticalMath.value( someNumber );
+ someNumber.postln;
+ nil;
+)
+</pre>
+ Here is how the program works:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
A Function and variable are created, and assigned values.
</div></li><li class="listitem"><div class="para">
@@ -3495,21 +3666,96 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div><div class="para">
- The program could have been shortened like this: [pre] ( var mysticalMath = { arg input = 0; input * 23; }; var someNumber = mysticalMath.value( 9 ); someNumber.postln; nil; ) [/pre]
- </div><div class="para">
- It could have been shortened even more like this: [pre] ( var mysticalMath = { arg input = 0; input * 23; }; mysticalMath.value( 9 ).postln; nil; ) [/pre]
+ The program could have been shortened like this:
+<pre class="programlisting">
+(
+ var mysticalMath =
+ {
+ arg input = 0;
+ input * 23;
+ };
+
+ var someNumber = mysticalMath.value( 9 );
+ someNumber.postln;
+ nil;
+)
+</pre>
+
+ </div><div class="para">
+ It could have been shortened even more like this:
+<pre class="programlisting">
+(
+ var mysticalMath =
+ {
+ arg input = 0;
+ input * 23;
+ };
+
+ mysticalMath.value( 9 ).postln;
+ nil;
+)
+</pre>
+
</div><div class="para">
Experiment with the shortened versions of the program, ensuring that you know why they work.
</div></div><div class="section" title="11.4.2.6. Variable Scope" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-">11.4.2.6. Variable Scope</h4></div></div></div><div class="para">
- A variable is only valid within its "scope." A variable's scope is determined by where it is declared. It will always last between either ( and ) or { and }, and applies to all statements within that block of code. Variable names can be re-declared in some contexts, which can be confusing.
- </div><div class="para">
- Consider the scope of the variables in this example: [pre] ( var zero = 0; var function = { var zero = 8; var sixteen = 16; zero.postln; // always prints 8 }; function.value; zero.postln; // always prints 0 sixteen.postln; // always causes an error ) [/pre] Because <code class="code">function</code> declares its own copy of <code class="code">zero</code>, it is modified independently of the variable <code class="code">zero</code> declared before the Function. Every time <code class="code">function</code> is executed, it re-declares its own <code class="code">zero</code>, and the interpreter keeps it separate from any other variables with the same name. When <code class="code">function</code> has finished executing, the interpreter destroys its variables. Variables declared inside any Function are only ever accessible from within that Function. This is why, when we try to execute <code class="code">sixteen.postln;</code>, the interpreter encounters an error: <code class="
code">sixteen</code> exists only within <code class="code">function</code>, and is not accessible outside the Function. By the way, in order to excute this example, you will need to remove the error-causing reference to <code class="code">sixteen</code>.
+ A variable is only valid within its "scope." A variable's scope is determined by where it is declared. It will always last between either <code class="literal">(</code> and <code class="literal">)</code> or <code class="literal">{</code> and <code class="literal">}</code>, and applies to all statements within that block of code. Variable names can be re-declared in some contexts, which can be confusing.
</div><div class="para">
- Now consider the scope of the variables in this example: [pre] ( var zero = 0; var function = { var sixteen = 16; zero = 8; zero.postln; // always prints 8 sixteen.postln; }; function.value; zero.postln; // always prints 8 ) [/pre] Why does the last line always print <code class="code">8</code>? It's because <code class="code">zero</code> was set to 8 within <code class="code">function</code>. More importantly, <code class="code">function</code> did not declare its own copy of <code class="code">zero</code>, so it simply accesses the one declared in the next "highest" block of code, which exists between ( and ) in this example.
+ Consider the scope of the variables in this example:
+<pre class="programlisting">
+(
+ var zero = 0;
+ var function =
+ {
+ var zero = 8;
+ var sixteen = 16;
+ zero.postln; // always prints 8
+ };
+
+ function.value;
+ zero.postln; // always prints 0
+ sixteen.postln; // always causes an error
+)
+</pre>
+ Because <code class="code">function</code> declares its own copy of <code class="code">zero</code>, it is modified independently of the variable <code class="code">zero</code> declared before the Function. Every time <code class="code">function</code> is executed, it re-declares its own <code class="code">zero</code>, and the interpreter keeps it separate from any other variables with the same name. When <code class="code">function</code> has finished executing, the interpreter destroys its variables. Variables declared inside any Function are only ever accessible from within that Function. This is why, when we try to execute <code class="code">sixteen.postln;</code>, the interpreter encounters an error: <code class="code">sixteen</code> exists only within <code class="code">function</code>, and is not accessible outside the Function. By the way, in order to excute this example, you will need to remove the error-causing reference to <code class="code">sixteen</code>.
+ </div><div class="para">
+ Now consider the scope of the variables in this example:
+<pre class="programlisting">
+(
+ var zero = 0;
+ var function =
+ {
+ var sixteen = 16;
+ zero = 8;
+ zero.postln; // always prints 8
+ sixteen.postln;
+ };
+
+ function.value;
+ zero.postln; // always prints 8
+)
+</pre>
+ Why does the last line always print <code class="code">8</code>? It's because <code class="code">zero</code> was set to 8 within <code class="code">function</code>. More importantly, <code class="code">function</code> did not declare its own copy of <code class="code">zero</code>, so it simply accesses the one declared in the next "highest" block of code, which exists between ( and ) in this example.
</div><div class="para">
This is why it's important to pay attention to a variable's scope, and to make sure that you declare your variables in the right place. Unexpected and difficult-to-find programming mistakes can occur when you forget to declare a variable, but it is declared elsewhere in your program: you will be allowed to use the variable, but it will be modified unexpectedly. On the other hand, it can be greatly advantageous to be able to access variables declared "outside the local scope" (meaning variables that aren't declared in the same code block in which they're used), but careful thought and planning is required.
</div><div class="para">
- Astute readers will notice that it is possible to re-declare the single-letter variable names, allowing you to control their scope. Consider the following program: [pre] ( var a = 0; b = { var c = 16; a = 8; a.postln; c.postln; }; b.value; a.postln; ) [/pre] This example requires careful examination. What is the scope of <code class="code">a</code>, <code class="code">b</code>, and <code class="code">c</code>? The answers may be surprising.
+ Astute readers will notice that it is possible to re-declare the single-letter variable names, allowing you to control their scope. Consider the following program:
+<pre class="programlisting">
+(
+ var a = 0;
+ b =
+ {
+ var c = 16;
+ a = 8;
+ a.postln;
+ c.postln;
+ };
+
+ b.value;
+ a.postln;
+)
+</pre>
+ This example requires careful examination. What is the scope of <code class="code">a</code>, <code class="code">b</code>, and <code class="code">c</code>? The answers may be surprising.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
<code class="code">a</code> is declared just after the ( character, so the interpreter destroys it upon reaching the ) character.
</div></li><li class="listitem"><div class="para">
@@ -3518,12 +3764,23 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
<code class="code">b</code> is ''not'' declared in this program, so it refers to the automatically-declared variable with that name. The interpreter does not destroy it until it is restarted or stopped. This means that the Function assigned to <code class="code">b</code> is still available ''after'' the program finishes execution. Try it! Execute the program above, and then execute this single-line program alone: <code class="code">b.value;</code>
</div></li></ul></div>
- </div></div></div><div class="section" title="11.4.3. Object-Oriented SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented SuperCollider</h3></div></div></div><div class="para">
- SuperCollider is difficult to describe precisely, because its syntax allows great flexibility. There are many different ways to accomplish the same task. Each one is subtly different, and gives you a different set of possibilities, but there is often no "best solution." One of the advantages to this is that it easily allows three "programming paradigms," although one is used much more often than the others.
+ </div></div></div><div class="section" title="11.4.3. Object-Oriented SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></h3></div></div></div><div class="para">
+ <span class="application"><strong>SuperCollider</strong></span> is difficult to describe precisely, because its syntax allows great flexibility. There are many different ways to accomplish the same task. Each one is subtly different, and gives you a different set of possibilities, but there is often no "best solution." One of the advantages to this is that it easily allows three "programming paradigms," although one is used much more often than the others.
</div><div class="section" title="11.4.3.1. Imperative Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming">11.4.3.1. Imperative Programming</h4></div></div></div><div class="para">
- Imperative programming is easy to understand: it is simply a list of commands, like this: [pre] ( var a, b, c; a = 12; b = 25; c = a + b; a.postln; ) [/pre] Declare the variables, set the variables, do a calculation, and print the result of the calculation. This is a simple example, and a simple model, but it is very difficult to escape completely. After all, humans think of large problems in terms of algorithms (the instructions needed to do something). Computers solve large problems, so being able to program them with a series of instructions makes sense.
+ Imperative programming is easy to understand: it is simply a list of commands, like this:
+<pre class="programlisting">
+(
+ var a, b, c;
+
+ a = 12;
+ b = 25;
+ c = a + b;
+ a.postln;
+)
+</pre>
+ Declare the variables, set the variables, do a calculation, and print the result of the calculation. This is a simple example, and a simple model, but it is very difficult to escape completely. After all, humans think of large problems in terms of algorithms (the instructions needed to do something). Computers solve large problems, so being able to program them with a series of instructions makes sense.
</div></div><div class="section" title="11.4.3.2. Functional Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming">11.4.3.2. Functional Programming</h4></div></div></div><div class="para">
- Functional programming is also easy to understand, but it can be a little bit more difficult to think about complex tasks. Functional programs use Functions to complete all of their work. This is not strictly possible in SuperCollider: it is more imperative than functional, but the creative use of Functions can easily solve some problems that are difficult to write with an imperative approach.
+ Functional programming is also easy to understand, but it can be a little bit more difficult to think about complex tasks. Functional programs use Functions to complete all of their work. This is not strictly possible in <span class="application"><strong>SuperCollider</strong></span>: it is more imperative than functional, but the creative use of Functions can easily solve some problems that are difficult to write with an imperative approach.
</div><div class="para">
The following example is an extension of the "Imperative" example. Pretend that the following Functions exist, and do the following tasks:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -3531,9 +3788,15 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
add : adds together the numbers given as arguments, returning the sum
</div></li></ul></div>
- [pre] ( postln( add( getinput, getinput ) ); ) [/pre]
+
+<pre class="programlisting">
+(
+ postln( add( getinput, getinput ) );
+)
+</pre>
+
</div><div class="para">
- SuperCollider will always execute the inner-most Functions first. This is how the interpreter executes the single-line program above:
+ <span class="application"><strong>SuperCollider</strong></span> will always execute the inner-most Functions first. This is how the interpreter executes the single-line program above:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Execute the left call of <code class="code">getinput</code>
</div></li><li class="listitem"><div class="para">
@@ -3545,27 +3808,27 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div>
</div><div class="para">
- Both imperative and functional programming have advantages and disadvantages. SuperCollider will allow you to use either approach, or a mix of both, when solving problems.
+ Both imperative and functional programming have advantages and disadvantages. <span class="application"><strong>SuperCollider</strong></span> will allow you to use either approach, or a mix of both, when solving problems.
</div></div><div class="section" title="11.4.3.3. Object-Oriented Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming">11.4.3.3. Object-Oriented Programming</h4></div></div></div><div class="para">
- 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.
+ Object-oriented programming is more difficult to think about than imperative or functional. When using this paradigm (mode of thought), almost everything in <span class="application"><strong>SuperCollider</strong></span> 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.
</div><div class="para">
Class names always begin with an uppercase letter.
</div><div class="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 class="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'''.
+ 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 <span class="application"><strong>SuperCollider</strong></span>, you generate a specific instance like this: <code class="code">var bike = Bicycle.new;</code> All <span class="application"><strong>SuperCollider</strong></span> 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'''.
</div><div class="para">
- There are certain things that Bicycles are designed to do: turn the wheels, turn the handlebar, raise and lower the seat, and so on. You can cause these things to happen by providing a certain input to a real-world Bicycle: if you want to turn the wheels, you might push the pedals. In SuperCollider, you cause things to happen by '''sending a message''' to the Object that tells it what you want: if you have a Bicycle, you might turn the wheels like this: <code class="code">bike.turnTheWheels;</code> When you do this, you are actually executing the <code class="code">turnTheWheels</code> Function, which is defined by the abstract Bicycle class. Because it doesn't make sense to turn the wheels of all bicycles in existence, you don't call the '''method''' (a synonym for "Function") from the Bicycle class itself, but from the particular instance whose wheels you want to turn. The proper way to access instance variables is by using instance methods.
+ There are certain things that Bicycles are designed to do: turn the wheels, turn the handlebar, raise and lower the seat, and so on. You can cause these things to happen by providing a certain input to a real-world Bicycle: if you want to turn the wheels, you might push the pedals. In <span class="application"><strong>SuperCollider</strong></span>, you cause things to happen by '''sending a message''' to the Object that tells it what you want: if you have a Bicycle, you might turn the wheels like this: <code class="code">bike.turnTheWheels;</code> When you do this, you are actually executing the <code class="code">turnTheWheels</code> Function, which is defined by the abstract Bicycle class. Because it doesn't make sense to turn the wheels of all bicycles in existence, you don't call the '''method''' (a synonym for "Function") from the Bicycle class itself, but from the particular instance whose wheels you want to turn. The proper way to access instance variables is by u
sing instance methods.
</div><div class="para">
- If this kind of programming is new to you, it might seem extremely difficult. It can be intimidating at first, but it is actually not too difficult to understand once you start to use it. In fact, you have already been using it! Remember the <code class="code">postln</code> command that was described earlier as a special kind of Function? It's actually a Function defined by SuperCollider's abstract class <code class="code">Object</code>, which defines a set of messages that can be passed to ''any'' SuperCollider Object. Because most things in SuperCollider are Objects, we can send them the <code class="code">postln</code> message, and they will understand that it means to print themselves in the "SuperCollider output" pane.
+ If this kind of programming is new to you, it might seem extremely difficult. It can be intimidating at first, but it is actually not too difficult to understand once you start to use it. In fact, you have already been using it! Remember the <code class="code">postln</code> command that was described earlier as a special kind of Function? It's actually a Function defined by <span class="application"><strong>SuperCollider</strong></span>'s abstract class <code class="code">Object</code>, which defines a set of messages that can be passed to ''any'' <span class="application"><strong>SuperCollider</strong></span> Object. Because most things in <span class="application"><strong>SuperCollider</strong></span> are Objects, we can send them the <code class="code">postln</code> message, and they will understand that it means to print themselves in the "<span class="application"><strong>SuperCollider</strong></span> output" pane.
</div><div class="para">
- Why is it that all Objects respond to the <code class="code">postln</code> message? SuperCollider classes are allowed to belong to other SuperCollider classes, of which they are a part. Consider the Bicycle class again. It is a kind of vehicle, and philosophers might say that "things that are members of the bicycle class are also members of the vehicle class." That is, real-world bicycles share certain characteristics with other real-world objects that are classified as "vehicles." The bicycle class is a "sub-class" of the vehicle class, and it '''inherits''' certain properties from the vehicles class. SuperCollider allows this behaviour too, and calls it '''inheritance'''. In SuperCollider, since all classes define Objects, they are all automatically considered to be a sub-class of the class called <code class="code">Object</code>. All classes therefore inherit certain characteristics from the <code class="code">Object</code> class, like knowing how to respond to the <
code class="code">postln</code> message.
+ Why is it that all Objects respond to the <code class="code">postln</code> message? <span class="application"><strong>SuperCollider</strong></span> classes are allowed to belong to other <span class="application"><strong>SuperCollider</strong></span> classes, of which they are a part. Consider the Bicycle class again. It is a kind of vehicle, and philosophers might say that "things that are members of the bicycle class are also members of the vehicle class." That is, real-world bicycles share certain characteristics with other real-world objects that are classified as "vehicles." The bicycle class is a "sub-class" of the vehicle class, and it '''inherits''' certain properties from the vehicles class. <span class="application"><strong>SuperCollider</strong></span> allows this behaviour too, and calls it '''inheritance'''. In <span class="application"><strong>SuperCollider</strong></span>, since all classes define Objects, they are all automatically considered to be a sub
-class of the class called <code class="code">Object</code>. All classes therefore inherit certain characteristics from the <code class="code">Object</code> class, like knowing how to respond to the <code class="code">postln</code> message.
</div><div class="para">
equivalent notation: <code class="literal">5.postln</code> versus <code class="literal">postln( 5 )</code>
</div><div class="para">
- You still don't know how to write new Classes and Objects in SuperCollider, but knowing how to use them is more than enough for now. By the time you need to write your own Classes, you will probably prefer to use the official SuperCollider help files, anyway.
+ You still don't know how to write new Classes and Objects in <span class="application"><strong>SuperCollider</strong></span>, but knowing how to use them is more than enough for now. By the time you need to write your own Classes, you will probably prefer to use the official <span class="application"><strong>SuperCollider</strong></span> help files, anyway.
</div></div><div class="section" title="11.4.3.4. Choosing a Paradigm" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm">11.4.3.4. Choosing a Paradigm</h4></div></div></div><div class="para">
At this point you may begin worrying about which programming paradigm you should choose, and when. The answer is unhelpful: "Whichever seems best for the task."
</div><div class="para">
- Let's expand on this. If you are primarily a programmer, then you probably already know how to choose the best paradigm and algorithm for the task. If you are a musician, then you probably just want your program to produce the output that you want (in this case, a particular set of sounds). Part of the beauty of SuperCollider's flexibility is that it allows you to produce the same output in different ways. As a musician this means that, as long as your program works as you want it to work, it doesn't matter how you write it. Experience will teach you more and less effective ways of doing things, but there is no need for rules.
+ Let's expand on this. If you are primarily a programmer, then you probably already know how to choose the best paradigm and algorithm for the task. If you are a musician, then you probably just want your program to produce the output that you want (in this case, a particular set of sounds). Part of the beauty of <span class="application"><strong>SuperCollider</strong></span>'s flexibility is that it allows you to produce the same output in different ways. As a musician this means that, as long as your program works as you want it to work, it doesn't matter how you write it. Experience will teach you more and less effective ways of doing things, but there is no need for rules.
</div><div class="para">
Even so, here are some guidelines that will help you to start thinking about music programs:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -3591,7 +3854,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div></div><div class="section" title="11.4.4. Sound-Making Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</h3></div></div></div><div class="para">
It's finally time to start thinking about Functions that produce sound!
</div><div class="para">
- This example is discussed below in the following sections. Remember, when running SuperCollider code in GEdit, you can stop the sound by pressing 'Esc' on your keyboard. [pre]{ SinOsc.ar( 440, 0, 0.2 ); }.play;[/pre]
+ This example is discussed below in the following sections. Remember, when running <span class="application"><strong>SuperCollider</strong></span> code in <span class="application"><strong>GEdit</strong></span>, you can stop the sound by pressing <span class="keycap"><strong>Esc</strong></span>
+<pre class="programlisting">{ SinOsc.ar( 440, 0, 0.2 ); }.play;</pre>
+
</div><div class="section" title="11.4.4.1. UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens">11.4.4.1. UGens</h4></div></div></div><div class="para">
"UGen" stands for "unit generator." UGens are special Objects that generate either an audio or a control signal.
</div><div class="para">
@@ -3599,13 +3864,17 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
The example at the beginning of this chapter, <code class="code">SinOsc.ar( 440, 0, 0.2 );</code> produces an "instance" of the <code class="code">SinOsc</code> Class, which continuously outputs a signal, based on the parameters given in parentheses. This instance produces an "audio rate" signal, which means that it is of sufficient quality to eventually become sound.
</div><div class="para">
- A slightly modified version of that code will give us a "control rate" signal: <code class="code">SinOsc.kr( 440, 0, 0.2 );</code> There is only one small difference between the two examples - for us - but for SuperCollider, the difference is huge. A control rate signal will not be of sufficient quality to become sound; it is used to control other UGens that do become sound.
+ A slightly modified version of that code will give us a "control rate" signal: <code class="code">SinOsc.kr( 440, 0, 0.2 );</code> There is only one small difference between the two examples - for us - but for <span class="application"><strong>SuperCollider</strong></span>, the difference is huge. A control rate signal will not be of sufficient quality to become sound; it is used to control other UGens that do become sound.
</div><div class="para">
- Unlike other Classes, UGen Classes should not be instantiated with the <code class="code">new</code> message. They should always be instantiated as either audio-rate (by passing the <code class="code">ar</code> message), or control-rate (by passing the <code class="code">kr</code> message). Control-rate signals are calculated much less often than audio-rate signals, which allows the SuperCollider interpreter and server to save processing power where it wouldn't be noticed.
+ Unlike other Classes, UGen Classes should not be instantiated with the <code class="code">new</code> message. They should always be instantiated as either audio-rate (by passing the <code class="code">ar</code> message), or control-rate (by passing the <code class="code">kr</code> message). Control-rate signals are calculated much less often than audio-rate signals, which allows the <span class="application"><strong>SuperCollider</strong></span> interpreter and server to save processing power where it wouldn't be noticed.
</div></div><div class="section" title="11.4.4.2. The "play" Function" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function">11.4.4.2. The "play" Function</h4></div></div></div><div class="para">
The <code class="code">play</code> Function does exactly what it says: it plays its input. The input must be a Function with an audio-rate signal generator as the return value.
</div><div class="para">
- The following two examples produce the same output: [pre]{ SinOsc.ar( 440, 0, 0.2 ); }.play;[/pre] [pre]play( { SinOsc.ar( 440, 0, 0.2 ); } );[/pre] The first example is written from an object-oriented perspective. Functions know how to play their return value, when passed the <code class="code">play</code> message. This is true of all Functions whose return value is an audio-rate UGen. The second example is written from a functional perspective. The Function called <code class="code">play</code> will play its input, which must be a Function whose return value is an audio-rate UGen. Whether you should write <code class="code">play</code> in the functional or object-oriented way depends on which makes more sense to you.
+ The following two examples produce the same output:
+<pre class="programlisting">{ SinOsc.ar( 440, 0, 0.2 ); }.play;</pre>
+
+<pre class="programlisting">play( { SinOsc.ar( 440, 0, 0.2 ); } );</pre>
+ The first example is written from an object-oriented perspective. Functions know how to play their return value, when passed the <code class="code">play</code> message. This is true of all Functions whose return value is an audio-rate UGen. The second example is written from a functional perspective. The Function called <code class="code">play</code> will play its input, which must be a Function whose return value is an audio-rate UGen. Whether you should write <code class="code">play</code> in the functional or object-oriented way depends on which makes more sense to you.
</div><div class="para">
Try to re-write the above example so that the <code class="code">play</code> Function operates on a variable-defined Function.
</div><div class="para">
@@ -3619,39 +3888,169 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
</div><div class="para">
- You now know enough to spend hours with the sine oscillator UGen. Try combining audio- and control-rate UGens, and try to figure out what happens when each of the arguments is adjusted. Be careful that your audio interface's volume isn't set too high! Experiment with this one: [pre] ( var myFrequency = SinOsc.kr( freq:1, mul:200, add:400 ); var sound = { SinOsc.ar( myFrequency, 0, 0.2 ); }; play( sound ); ) [/pre]
+ You now know enough to spend hours with the sine oscillator UGen. Try combining audio- and control-rate UGens, and try to figure out what happens when each of the arguments is adjusted. Be careful that your audio interface's volume isn't set too high! Experiment with this one:
+<pre class="programlisting">
+(
+ var myFrequency = SinOsc.kr( freq:1, mul:200, add:400 );
+ var sound = { SinOsc.ar( myFrequency, 0, 0.2 ); };
+
+ play( sound );
+)
+</pre>
+
</div></div></div><div class="section" title="11.4.5. Multichannel Audio" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</h3></div></div></div><div class="para">
By now you must be growing tired of the left-side-only sounds being produced by the examples.
</div><div class="section" title="11.4.5.1. Stereo Array" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array">11.4.5.1. Stereo Array</h4></div></div></div><div class="para">
- The easiest way to output multichannel audio in SuperCollider is to use a kind of "Collection" (defined later) called an "Array." SuperCollider will theoretically handle any number of audio output channels, but by default is usually only configured for two-channel stereo audio. Since humans have only two ears, this is sufficient for most tasks! A multichannel array is notated like this: <code class="code">[ LeftChannel.ar( x ), RightChannel.ar( y ) ]</code>
+ The easiest way to output multichannel audio in <span class="application"><strong>SuperCollider</strong></span> is to use a kind of "Collection" (defined later) called an "Array." <span class="application"><strong>SuperCollider</strong></span> will theoretically handle any number of audio output channels, but by default is usually only configured for two-channel stereo audio. Since humans have only two ears, this is sufficient for most tasks! A multichannel array is notated like this: <code class="code">[ LeftChannel.ar( x ), RightChannel.ar( y ) ]</code>
</div><div class="para">
- Here is our simple sine oscillator expanded to produce stereo audio: [pre]{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;[/pre] Not much has changed, except that the audio we hear is now being emitted from both the left and right channels. Change the frequency of one of the sine oscillators to <code class="code">450</code> and the difference will become much more apparent.
+ Here is our simple sine oscillator expanded to produce stereo audio:
+<pre class="programlisting">{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;</pre>
+ Not much has changed, except that the audio we hear is now being emitted from both the left and right channels. Change the frequency of one of the sine oscillators to <code class="code">450</code> and the difference will become much more apparent.
</div><div class="para">
- Multichannel arrays can also be combined with each other, like this: [pre] { var one = [ x, y, z ]; var two = [ a, b, c ]; [ one, two ]; } [/pre] If <code class="code">a</code>, <code class="code">b</code>, <code class="code">c</code>, <code class="code">x</code>, <code class="code">y</code>, and <code class="code">z</code> were all audio-rate UGens, this Function could be <code class="code">play</code>'ed. It would produce stereo audio, and each channel would have three independent UGens.
+ Multichannel arrays can also be combined with each other, like this:
+<pre class="programlisting">
+{
+ var one = [ x, y, z ];
+ var two = [ a, b, c ];
+ [ one, two ];
+}
+</pre>
+ If <code class="code">a</code>, <code class="code">b</code>, <code class="code">c</code>, <code class="code">x</code>, <code class="code">y</code>, and <code class="code">z</code> were all audio-rate UGens, this Function could be <code class="code">play</code>'ed. It would produce stereo audio, and each channel would have three independent UGens.
</div></div><div class="section" title="11.4.5.2. Multichannel Expansion" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion">11.4.5.2. Multichannel Expansion</h4></div></div></div><div class="para">
- You can automatically create multiple UGens by providing an Array as one of the parameters. The SuperCollider interpreter will automatically create multichannel UGens as a result.
+ You can automatically create multiple UGens by providing an Array as one of the parameters. The <span class="application"><strong>SuperCollider</strong></span> interpreter will automatically create multichannel UGens as a result.
</div><div class="para">
- The following two examples produce equivalent output: [pre]{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;[/pre] [pre]{ SinOsc.ar( [440, 440], 0, 0.2 ); }.play;[/pre] The second example can be easier to read, because it is obvious that only the frequency is changing - or in this case, that nothing is changing. This technique is more useful in a situation like the following: [pre]{ SinOsc.ar( [[440, 445, 450, 455, 460, 465], [440, 445, 450, 455, 460, 465]], 0, 0.2 ); }.play;[/pre] That's not exactly easy to read, but it's easier to figure out than the most obvious alternative: [pre]{ [[ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 445, 0, 0.2 ), SinOsc.ar( 450, 0, 0.2 ), SinOsc.ar( 455, 0, 0.2 ), SinOsc.ar( 460, 0, 0.2 ), SinOsc.ar( 465, 0, 0.2 ) ], [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 445, 0, 0.2 ), SinOsc.ar( 450, 0, 0.2 ), SinOsc.ar( 455, 0, 0.2 ), SinOsc.ar( 460, 0, 0.2 ), SinOsc.ar( 465, 0, 0.2 ) ]]; }.play;[/pre] More importantly, multichannel expansion
gives us another tool to avoid repetition. Repetition is the enemy of correctness - it's so much more difficult to find a mistake in the second example than in the first!
+ The following two examples produce equivalent output:
+<pre class="programlisting">{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;</pre>
+
+<pre class="programlisting">{ SinOsc.ar( [440, 440], 0, 0.2 ); }.play;</pre>
+ The second example can be easier to read, because it is obvious that only the frequency is changing - or in this case, that nothing is changing. This technique is more useful in a situation like the following:
+<pre class="programlisting">
+{ SinOsc.ar( [[440, 445, 450, 455, 460, 465],
+ [440, 445, 450, 455, 460, 465]],
+ 0,
+ 0.2 ); }.play;
+</pre>
+ That's not exactly easy to read, but it's easier to figure out than the most obvious alternative:
+<pre class="programlisting">
+{
+ [[ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 445, 0, 0.2 ), SinOsc.ar( 450, 0, 0.2 ), SinOsc.ar( 455, 0, 0.2 ), SinOsc.ar( 460, 0, 0.2 ), SinOsc.ar( 465, 0, 0.2 ) ],
+ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 445, 0, 0.2 ), SinOsc.ar( 450, 0, 0.2 ), SinOsc.ar( 455, 0, 0.2 ), SinOsc.ar( 460, 0, 0.2 ), SinOsc.ar( 465, 0, 0.2 ) ]];
+}.play;
+</pre>
+ More importantly, multichannel expansion gives us another tool to avoid repetition. Repetition is the enemy of correctness - it's so much more difficult to find a mistake in the second example than in the first!
</div></div><div class="section" title="11.4.5.3. Method One" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One">11.4.5.3. Method One</h4></div></div></div><div class="para">
- Believe it or not, you now know enough to understand a slightly-modified version of the first part of "Method One," a SuperCollider program written and heavily commented specifically for use with this Guide. You should <code class="code">play</code> this example, and experiment with changing the frequencies, volumes, and so on. The fully-commented version provides a full explanation of how the Function works. [pre] { // sets up the frequencies of both channels var frequencyL = SinOsc.kr( freq:10, mul:200, add:400 ); // oscillating var frequencyR = SinOsc.kr( freq:1, mul:50, add:150 ); // oscillating var frequencyL_drone = SinOsc.kr( freq:0.03, mul:20, add:100 ); // drone var frequencyR_drone = SinOsc.kr( freq:0.01, mul:20, add:210 ); // drone // changes the volume of the oscillating part in the left channel var volumeL = SinOsc.kr( freq:0.5, mul:0.02, add:0.03 ); // left channel var left = [ SinOsc.ar( freq:frequencyL, mul:volumeL ), // this is the oscillating part SinOs
c.ar( freq:[frequencyL_drone,2*frequencyL_drone], mul:0.02 ), // the rest make up the drone SinOsc.ar( freq:[5*frequencyL_drone,7*frequencyL_drone], mul:0.005 ), SinOsc.ar( freq:[13*frequencyL_drone,28*frequencyL_drone], mul:0.001 ) ]; // right channel var right = [ SinOsc.ar( freq:frequencyR, mul:0.1 ), // this is the oscillating part SinOsc.ar( freq:[frequencyR_drone,2*frequencyR_drone], mul:0.02 ), // the rest make up the drone SinOsc.ar( freq:4*frequencyR_drone, mul:0.005 ), SinOsc.ar( freq:[64*frequencyR_drone,128*frequencyR_drone], mul:0.01 ) ]; // high frequencies! [ left, right ]; } [/pre]
+ Believe it or not, you now know enough to understand a slightly-modified version of the first part of "Method One," a <span class="application"><strong>SuperCollider</strong></span> program written and heavily commented specifically for use with this Guide. You should <code class="code">play</code> this example, and experiment with changing the frequencies, volumes, and so on. The fully-commented version provides a full explanation of how the Function works.
+<pre class="programlisting">
+{
+ // sets up the frequencies of both channels
+ var frequencyL = SinOsc.kr( freq:10, mul:200, add:400 ); // oscillating
+ var frequencyR = SinOsc.kr( freq:1, mul:50, add:150 ); // oscillating
+ var frequencyL_drone = SinOsc.kr( freq:0.03, mul:20, add:100 ); // drone
+ var frequencyR_drone = SinOsc.kr( freq:0.01, mul:20, add:210 ); // drone
+
+ // changes the volume of the oscillating part in the left channel
+ var volumeL = SinOsc.kr( freq:0.5, mul:0.02, add:0.03 );
+
+ // left channel
+ var left = [ SinOsc.ar( freq:frequencyL, mul:volumeL ), // this is the oscillating part
+ SinOsc.ar( freq:[frequencyL_drone,2*frequencyL_drone], mul:0.02 ), // the rest make up the drone
+ SinOsc.ar( freq:[5*frequencyL_drone,7*frequencyL_drone], mul:0.005 ),
+ SinOsc.ar( freq:[13*frequencyL_drone,28*frequencyL_drone], mul:0.001 ) ];
+
+ // right channel
+ var right = [ SinOsc.ar( freq:frequencyR, mul:0.1 ), // this is the oscillating part
+ SinOsc.ar( freq:[frequencyR_drone,2*frequencyR_drone], mul:0.02 ), // the rest make up the drone
+ SinOsc.ar( freq:4*frequencyR_drone, mul:0.005 ),
+ SinOsc.ar( freq:[64*frequencyR_drone,128*frequencyR_drone], mul:0.01 ) ]; // high frequencies!
+
+ [ left, right ];
+}
+</pre>
+
</div></div></div><div class="section" title="11.4.6. Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6. Collections</h3></div></div></div><div class="para">
- A "collection" is just that - a collection of Objects. Collections are simply a means of organizing a large amount of data, without having to assign a variable name for each portion of data. Compared to other programming languages, SuperCollider provides a relatively large number of Collections in the standard library.
+ A "collection" is just that - a collection of Objects. Collections are simply a means of organizing a large amount of data, without having to assign a variable name for each portion of data. Compared to other programming languages, <span class="application"><strong>SuperCollider</strong></span> provides a relatively large number of Collections in the standard library.
</div><div class="para">
We have already seen an example of a Collection as multichannel audio arrays. An Array is a kind of Collection - in object-oriented terminology, the Array Class is a '''sub-class''' of the Collection Class, and inherits its behaviours. Conversely, the Collection Class is the '''super-class''' of the Array Class. The Collection Class itself is not to be used; it is designed to provide common features so that it is easier to write Classes for collections.
</div><div class="para">
As with all the chapters from this point on, it is not necessary to read this in sequence. If you prefer, you can skip it and return later when you need to manage a large set of data.
</div><div class="section" title="11.4.6.1. Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array">11.4.6.1. Array</h4></div></div></div><div class="para">
- Arrays have been traditionally been very popular with programmers. In SuperCollider, they are capable of storing a large number of Objects, and they provide advanced behaviours that are normally not associated with Arrays. They are not as indespensible as they used to be. Most programming languages now provide (or can easily be extended to add) Lists, Trees, and other kinds of data storage structures, which offer more capabilities, and are easier to use and to think about. Users new to programming might find the various kinds of Lists to be more helpful.
+ Arrays have been traditionally been very popular with programmers. In <span class="application"><strong>SuperCollider</strong></span>, they are capable of storing a large number of Objects, and they provide advanced behaviours that are normally not associated with Arrays. They are not as indespensible as they used to be. Most programming languages now provide (or can easily be extended to add) Lists, Trees, and other kinds of data storage structures, which offer more capabilities, and are easier to use and to think about. Users new to programming might find the various kinds of Lists to be more helpful.
</div><div class="section" title="11.4.6.1.1. Building an Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building">11.4.6.1.1. Building an Array</h5></div></div></div><div class="para">
An Array is a Collection with a finite maximum size, determined at declaration time. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in an Array is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in an Array, including an Array.
</div><div class="para">
- This example declares an Array, adds some elements, then prints them out. [pre] ( var tA = Array.new( 2 ); // "tA" stands for "testArray" tA = tA.add( 5 ); tA = tA.add( 3 ); tA = tA.add( 17 ); tA.postln; nil; ) [/pre] Notice that Array is a Class, and it must be instantiated before use. Here, the variable <code class="code">tA</code> is assigned an Array with enough space for two objects. Notice that the elements are printed out in the order that you add them to the Array. They are not sorted or shuffled (unless you send a message like <code class="code">scramble</code>). But why did I write <code class="code">tA = tA.add( 17 );</code> instead of <code class="code">tA.add( 17 );</code>? Shouldn't the second method be sufficient for adding an Object to an Array, thereby making the re-assignment unnecessary? It does, but let's see what happens when we take it away: [pre] ( var tA = Array.new( 2 ); // "tA" stands for "testArray" tA.add( 5 ); tA.add( 3 ); tA.add( 17 ); tA.p
ostln; nil; ) [/pre] The <code class="code">17</code> is missing - it doesn't get added into the Array! This is because the Array was only declared with two slots, and you can't add three Objects into two slots. So why did this work the first time? SuperCollider was programmed to help us fit additional items into an Array. If an Array has reached its capacity, SuperCollider will automatically make a new, larger Array for us, and returns that from the <code class="code">add</code> method. Therefore, any time you add an element to an Array, you should always re-assign the result, so that you don't have to worry about whether you exceeded the Array's capacity.
+ This example declares an Array, adds some elements, then prints them out.
+<pre class="programlisting">
+(
+ var tA = Array.new( 2 ); // "tA" stands for "testArray"
+
+ tA = tA.add( 5 );
+ tA = tA.add( 3 );
+ tA = tA.add( 17 );
+
+ tA.postln;
+ nil;
+)
+</pre>
+ Notice that Array is a Class, and it must be instantiated before use. Here, the variable <code class="code">tA</code> is assigned an Array with enough space for two objects. Notice that the elements are printed out in the order that you add them to the Array. They are not sorted or shuffled (unless you send a message like <code class="code">scramble</code>). But why did I write <code class="code">tA = tA.add( 17 );</code> instead of <code class="code">tA.add( 17 );</code>? Shouldn't the second method be sufficient for adding an Object to an Array, thereby making the re-assignment unnecessary? It does, but let's see what happens when we take it away:
+<pre class="programlisting">
+(
+ var tA = Array.new( 2 ); // "tA" stands for "testArray"
+
+ tA.add( 5 );
+ tA.add( 3 );
+ tA.add( 17 );
+
+ tA.postln;
+ nil;
+)
+</pre>
+ The <code class="code">17</code> is missing - it doesn't get added into the Array! This is because the Array was only declared with two slots, and you can't add three Objects into two slots. So why did this work the first time? <span class="application"><strong>SuperCollider</strong></span> was programmed to help us fit additional items into an Array. If an Array has reached its capacity, <span class="application"><strong>SuperCollider</strong></span> will automatically make a new, larger Array for us, and returns that from the <code class="code">add</code> method. Therefore, any time you add an element to an Array, you should always re-assign the result, so that you don't have to worry about whether you exceeded the Array's capacity.
</div></div><div class="section" title="11.4.6.1.2. Accessing an Array's Elements" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing">11.4.6.1.2. Accessing an Array's Elements</h5></div></div></div><div class="para">
There are two ways to access individual elements within an Array. One way is object-oriented, and one way is more traditional, inspired by programming languages such as the wildly popular "C" language. The object-oriented style uses the <code class="code">at</code> and <code class="code">put</code> methods. The traditional style uses square brackets with an index number.
</div><div class="para">
- The following examples produce equivalent output. The first uses the object-oriented style, and the second uses the traditional style. [pre] ( var tA = Array.new( 3 ); tA = tA.add( 5 ); tA = tA.add( 3 ); tA = tA.add( 17 ); tA.at( 0 ).postln; // outputs 5 tA.at( 1 ).postln; // outputs 3 tA.at( 2 ).postln; // outputs 17 tA.put( 0, 24 ); // assigns 24 to element 0 tA.at( 0 ).postln; // outputs 24 nil; ) [/pre] [pre] ( var tA = Array.new( 3 ); tA = tA.add( 5 ); tA = tA.add( 3 ); tA = tA.add( 17 ); tA[0].postln; // outputs 5 tA[1].postln; // outputs 3 tA[2].postln; // outputs 17 tA[0] = 24 ; // assigns 24 to element 0 tA[0].postln; // outputs 24 nil; ) [/pre] Different people prefer different styles of accessing Arrays.
+ The following examples produce equivalent output. The first uses the object-oriented style, and the second uses the traditional style.
+<pre class="programlisting">
+(
+ var tA = Array.new( 3 );
+
+ tA = tA.add( 5 );
+ tA = tA.add( 3 );
+ tA = tA.add( 17 );
+
+ tA.at( 0 ).postln; // outputs 5
+ tA.at( 1 ).postln; // outputs 3
+ tA.at( 2 ).postln; // outputs 17
+
+ tA.put( 0, 24 ); // assigns 24 to element 0
+
+ tA.at( 0 ).postln; // outputs 24
+
+ nil;
+)
+</pre>
+
+<pre class="programlisting">
+(
+ var tA = Array.new( 3 );
+
+ tA = tA.add( 5 );
+ tA = tA.add( 3 );
+ tA = tA.add( 17 );
+
+ tA[0].postln; // outputs 5
+ tA[1].postln; // outputs 3
+ tA[2].postln; // outputs 17
+
+ tA[0] = 24 ; // assigns 24 to element 0
+
+ tA[0].postln; // outputs 24
+
+ nil;
+)
+</pre>
+ Different people prefer different styles of accessing Arrays.
</div></div></div><div class="section" title="11.4.6.2. List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List">11.4.6.2. List</h4></div></div></div><div class="para">
- An List is a Collection with an infinite maximum size. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in a List is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in a List, including a List. Lists and Arrays are very similar, but SuperCollider manages some of the dirty work for you, when you use the List Class.
+ An List is a Collection with an infinite maximum size. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in a List is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in a List, including a List. Lists and Arrays are very similar, but <span class="application"><strong>SuperCollider</strong></span> manages some of the dirty work for you, when you use the List Class.
</div><div class="section" title="11.4.6.2.1. Building a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building">11.4.6.2.1. Building a List</h5></div></div></div><div class="para">
There are four methods which instantiate a List. These are all "Class methods," meaning they do not operate on a specific List, but can be used to make any List.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -3697,23 +4096,167 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="11.4.6.2.5. Examples" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples">11.4.6.2.5. Examples</h5></div></div></div><div class="para">
The following examples show different ways to use List's.
</div><div class="para">
- [pre] ( var tL = List.new; tL.add( 42 ); tL.add( 820 ); postln( tL.pop ); // outputs 820 tL.add( 7 ); tL.add( 19 ); tL.add( 23 ); postln( tL.pop ); // outputs 23 postln( tL.pop ); // outputs 19 postln( tL.pop ); // outputs 7 postln( tL.pop ); // outputs 42 postln( tL.pop ); // List is empty, so we get "nil" nil; ) [/pre] This code adds numbers to the end of a List, then removes them from the end of the List.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL.add( 42 );
+ tL.add( 820 );
+
+ postln( tL.pop ); // outputs 820
+
+ tL.add( 7 );
+ tL.add( 19 );
+ tL.add( 23 );
+
+ postln( tL.pop ); // outputs 23
+ postln( tL.pop ); // outputs 19
+ postln( tL.pop ); // outputs 7
+ postln( tL.pop ); // outputs 42
+
+ postln( tL.pop ); // List is empty, so we get "nil"
+
+ nil;
+)
+</pre>
+ This code adds numbers to the end of a List, then removes them from the end of the List.
</div><div class="para">
- [pre] ( var tL = List.new; tL.addFirst( 42 ); tL.addFirst( 820 ); postln( tL.pop ); // outputs 42 tL.addFirst( 7 ); tL.addFirst ( 19 ); tL.addFirst ( 23 ); postln( tL.pop ); // outputs 820 postln( tL.pop ); // outputs 7 postln( tL.pop ); // outputs 19 postln( tL.pop ); // outputs 23 postln( tL.pop ); // list is empty, so we get "nil" nil; ) [/pre] This modification of the first example adds numbers to the beginning of a List, then removes them from the end of the List. This is one way to ensure that the List elements are removed in the same order that they are added.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL.addFirst( 42 );
+ tL.addFirst( 820 );
+
+ postln( tL.pop ); // outputs 42
+
+ tL.addFirst( 7 );
+ tL.addFirst ( 19 );
+ tL.addFirst ( 23 );
+
+ postln( tL.pop ); // outputs 820
+ postln( tL.pop ); // outputs 7
+ postln( tL.pop ); // outputs 19
+ postln( tL.pop ); // outputs 23
+
+ postln( tL.pop ); // list is empty, so we get "nil"
+
+ nil;
+)
+</pre>
+ This modification of the first example adds numbers to the beginning of a List, then removes them from the end of the List. This is one way to ensure that the List elements are removed in the same order that they are added.
</div><div class="para">
- [pre] ( var tL = List.new; tL.add( 42 ); tL.add( 820 ); postln( tL.removeAt( 0 ) ); // outputs 42 tL.add( 7 ); tL.add( 19 ); tL.add( 23 ); postln( tL.removeAt( 0 ) ); // outputs 820 postln( tL.removeAt( 0 ) ); // outputs 7 postln( tL.removeAt( 0 ) ); // outputs 19 postln( tL.removeAt( 0 ) ); // outputs 23 // postln( tL.removeAt( 0 ) ); // would cause an error nil; ) [/pre] This modification of the first example adds numbers to the end of a List, then removes from the beginning of the List. This is another way to ensure that the List elements are removed in the same order that they're added. Note that, when the List is empty, using the "removeAt()" Function causes an error, because you try to access a List index which doesn't exist.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL.add( 42 );
+ tL.add( 820 );
+
+ postln( tL.removeAt( 0 ) ); // outputs 42
+
+ tL.add( 7 );
+ tL.add( 19 );
+ tL.add( 23 );
+
+ postln( tL.removeAt( 0 ) ); // outputs 820
+ postln( tL.removeAt( 0 ) ); // outputs 7
+ postln( tL.removeAt( 0 ) ); // outputs 19
+ postln( tL.removeAt( 0 ) ); // outputs 23
+
+// postln( tL.removeAt( 0 ) ); // causes an error!
+
+ nil;
+)
+</pre>
+ This modification of the first example adds numbers to the end of a List, then removes from the beginning of the List. This is another way to ensure that the List elements are removed in the same order that they're added. Note that, when the List is empty, using the "removeAt()" Function causes an error, because you try to access a List index which doesn't exist.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [42,820,7,19,23]; tL.at( 0 ).postln; // outputs 42 tL.at( 1 ).postln; // outputs 820 tL.at( 2 ).postln; // outputs 7 tL.at( 3 ).postln; // outputs 19 tL.at( 4 ).postln; // outputs 23 tL.at( 5 ).postln; // outputs nil tL.at( 6 ).postln; // outputs nil nil; ) [/pre] This example shows another way to add elements to an empty List, which also works for Arrays. Then it shows what happens when you try to access elements beyond the end of a List with the "at()"Function.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL = [42,820,7,19,23];
+
+ tL.at( 0 ).postln; // outputs 42
+ tL.at( 1 ).postln; // outputs 820
+ tL.at( 2 ).postln; // outputs 7
+ tL.at( 3 ).postln; // outputs 19
+ tL.at( 4 ).postln; // outputs 23
+ tL.at( 5 ).postln; // outputs nil
+ tL.at( 6 ).postln; // outputs nil
+
+ nil;
+)
+</pre>
+ This example shows another way to add elements to an empty List, which also works for Arrays. Then it shows what happens when you try to access elements beyond the end of a List with the "at()"Function.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [42,820,7,19,23]; tL.clipAt( 0 ).postln; // outputs 42 tL.clipAt( 1 ).postln; // outputs 820 tL.clipAt( 2 ).postln; // outputs 7 tL.clipAt( 3 ).postln; // outputs 19 tL.clipAt( 4 ).postln; // outputs 23 tL.clipAt( 5 ).postln; // outputs 23 tL.clipAt( 6 ).postln; // outputs 23 nil; ) [/pre] This example shows what happens when you try to access elements beyond the end of a List with the "clipAt()" Function. For index numbers beyond the end of the List, the interpreter will simply return the last element.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL = [42,820,7,19,23];
+
+ tL.clipAt( 0 ).postln; // outputs 42
+ tL.clipAt( 1 ).postln; // outputs 820
+ tL.clipAt( 2 ).postln; // outputs 7
+ tL.clipAt( 3 ).postln; // outputs 19
+ tL.clipAt( 4 ).postln; // outputs 23
+ tL.clipAt( 5 ).postln; // outputs 23
+ tL.clipAt( 6 ).postln; // outputs 23
+
+ nil;
+)
+</pre>
+ This example shows what happens when you try to access elements beyond the end of a List with the "clipAt()" Function. For index numbers beyond the end of the List, the interpreter will simply return the last element.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [42,820,7,19,23]; tL.foldAt( 0 ).postln; // outputs 42 tL.foldAt( 1 ).postln; // outputs 820 tL.foldAt( 2 ).postln; // outputs 7 tL.foldAt( 3 ).postln; // outputs 19 tL.foldAt( 4 ).postln; // outputs 23 tL.foldAt( 5 ).postln; // outputs 19 tL.foldAt( 6 ).postln; // outputs 7 nil; ) [/pre] This example shows what happens when you try to aceess elements beyond the end of a List with the "foldAt()" Function. For index numbers beyond the end of the List, the interpreter will start moving back through the List, towards the first element, "folding" through the List.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL = [42,820,7,19,23];
+
+ tL.foldAt( 0 ).postln; // outputs 42
+ tL.foldAt( 1 ).postln; // outputs 820
+ tL.foldAt( 2 ).postln; // outputs 7
+ tL.foldAt( 3 ).postln; // outputs 19
+ tL.foldAt( 4 ).postln; // outputs 23
+ tL.foldAt( 5 ).postln; // outputs 19
+ tL.foldAt( 6 ).postln; // outputs 7
+
+ nil;
+)
+</pre>
+ This example shows what happens when you try to aceess elements beyond the end of a List with the "foldAt()" Function. For index numbers beyond the end of the List, the interpreter will start moving back through the List, towards the first element, "folding" through the List.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [42,820,7,19,23]; tL.wrapAt( 0 ).postln; // outputs 42 tL.wrapAt( 1 ).postln; // outputs 820 tL.wrapAt( 2 ).postln; // outputs 7 tL.wrapAt( 3 ).postln; // outputs 19 tL.wrapAt( 4 ).postln; // outputs 23 tL.wrapAt( 5 ).postln; // outputs 42 tL.wrapAt( 6 ).postln; // outputs 820 nil; ) [/pre] This example shows what happens when you try to access elements beyond the end of a List with the "wrapAt()" Function. For index numbers beyond the end of the List, the interpreter will start again at the beginning of the List, "wrapping" around to the beginning.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL = [42,820,7,19,23];
+
+ tL.wrapAt( 0 ).postln; // outputs 42
+ tL.wrapAt( 1 ).postln; // outputs 820
+ tL.wrapAt( 2 ).postln; // outputs 7
+ tL.wrapAt( 3 ).postln; // outputs 19
+ tL.wrapAt( 4 ).postln; // outputs 23
+ tL.wrapAt( 5 ).postln; // outputs 42
+ tL.wrapAt( 6 ).postln; // outputs 820
+
+ nil;
+)
+</pre>
+ This example shows what happens when you try to access elements beyond the end of a List with the "wrapAt()" Function. For index numbers beyond the end of the List, the interpreter will start again at the beginning of the List, "wrapping" around to the beginning.
</div></div></div><div class="section" title="11.4.6.3. LinkedList" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList">11.4.6.3. LinkedList</h4></div></div></div><div class="para">
- Linked lists are very common structures for data management in computer science. They are more efficient than arrays for many tasks, particularly when it's impossible to know how many elements will be required in an array until the program is run. SuperCollider's List Class is implemented with arrays, and it offers nearly the same functionality as the LinkedList class.
+ Linked lists are very common structures for data management in computer science. They are more efficient than arrays for many tasks, particularly when it's impossible to know how many elements will be required in an array until the program is run. <span class="application"><strong>SuperCollider</strong></span>'s List Class is implemented with arrays, and it offers nearly the same functionality as the LinkedList class.
</div><div class="para">
- A true linked list is accessed most efficiently from the start (called the "head" of the list) or the end (called the "tail"). Each element is linked to the one before it, the one after it, or both. SuperCollider's LinkedList Class has elements which are linked both to the preceding and following elements, so it is called a "doubly linked list."
+ A true linked list is accessed most efficiently from the start (called the "head" of the list) or the end (called the "tail"). Each element is linked to the one before it, the one after it, or both. <span class="application"><strong>SuperCollider</strong></span>'s LinkedList Class has elements which are linked both to the preceding and following elements, so it is called a "doubly linked list."
</div><div class="para">
Knowing when to use a LinkedList over a List is a question of efficiency, and for small collections of information, it isn't going to make a big difference - you might as well use a basic List. When you plan to store hundreds or thousands of elements, choosing the right Class becomes more important, and can save a lot of processor time. Here is how to know which Class you should use:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -3753,9 +4296,31 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
</div></div><div class="section" title="11.4.6.3.3. Example" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example">11.4.6.3.3. Example</h5></div></div></div><div class="para">
- This example uses a LinkedList as a queue, adding numbers to the tail, and removing and printing from the head. [pre] ( var tL = LinkedList.new; tL.add( 42 ); tL.add( 89 ); tL.popFirst.postln; // prints 42 tL.add( 256 ); tL.popFirst.postln; // prints 89 tL.add( 900 ); tL.popFirst.postln; // prints 256 tL.popFirst.postln; // prints 900 nil; ) [/pre]
+ This example uses a LinkedList as a queue, adding numbers to the tail, and removing and printing from the head.
+<pre class="programlisting">
+(
+ var tL = LinkedList.new;
+
+ tL.add( 42 );
+ tL.add( 89 );
+
+ tL.popFirst.postln; // prints 42
+
+ tL.add( 256 );
+
+ tL.popFirst.postln; // prints 89
+
+ tL.add( 900 );
+
+ tL.popFirst.postln; // prints 256
+ tL.popFirst.postln; // prints 900
+
+ nil;
+)
+</pre>
+
</div></div></div><div class="section" title="11.4.6.4. Other Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections">11.4.6.4. Other Collections</h4></div></div></div><div class="para">
- As mentioned previously, the SuperCollider language provides for many more kinds of data structures. The following Collections are useful, but much more complex than those listed above. For usage instructions, refer to the SuperCollider documentation.
+ As mentioned previously, the <span class="application"><strong>SuperCollider</strong></span> language provides for many more kinds of data structures. The following Collections are useful, but much more complex than those listed above. For usage instructions, refer to the <span class="application"><strong>SuperCollider</strong></span> documentation.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Dictionary: stores and allows retrieval of data by arbitrary Objects (for example, by symbols, rather than by index numbers).
</div></li><li class="listitem"><div class="para">
@@ -3767,35 +4332,97 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
</div></div></div><div class="section" title="11.4.7. Repeated Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</h3></div></div></div><div class="para">
- Repeating boring tasks is one of the main uses of computers, which don't mind doing the same thing over and over again. More importantly, writing code once and using it many times is much more intelligent than writing the same code many times. Repetition of the same code is often problematic, and repetition with subtle differences is even worse. Errors in this kind of code are difficult to find in the first place, and more difficult to solve effectively. Thankfully, as with most other things, SuperCollider offers a wide variety of ways to repeat code without re-writing it.
+ Repeating boring tasks is one of the main uses of computers, which don't mind doing the same thing over and over again. More importantly, writing code once and using it many times is much more intelligent than writing the same code many times. Repetition of the same code is often problematic, and repetition with subtle differences is even worse. Errors in this kind of code are difficult to find in the first place, and more difficult to solve effectively. Thankfully, as with most other things, <span class="application"><strong>SuperCollider</strong></span> offers a wide variety of ways to repeat code without re-writing it.
</div><div class="para">
- The code structure used to create repetition is normally called a '''loop'''. "Do" loops are SuperCollider's most versatile and useful repetition structure, and there are a few different ways to think about and write it. The "while" loop is a standard of most programming languages.
+ The code structure used to create repetition is normally called a '''loop'''. "Do" loops are <span class="application"><strong>SuperCollider</strong></span>'s most versatile and useful repetition structure, and there are a few different ways to think about and write it. The "while" loop is a standard of most programming languages.
</div><div class="section" title="11.4.7.1. "Do This to Everything in This Collection"" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do">11.4.7.1. "Do This to Everything in This Collection"</h4></div></div></div><div class="para">
- One way to write a "do" loop is basically the same as telling the interpreter to "do this Function to every element in this Collection." The syntax looks like this, [pre]do( aCollection, aFunction );[/pre] or this, [pre]aCollection.do( aFunction );[/pre] This causes <code class="code">aFunction</code> to be executed once for each element in <code class="code">aCollection</code>, which can be any kind of Collection. Each time <code class="code">aFunction</code> is run, it is given two arguments, in this order: an element of <code class="code">aCollection</code>, and the elements index number. For Collection's that don't have index numbers, it returns what the element's index number would have been. The loop always begins at the start of the Collection, and progresses with each element in order to the end. The second argument, really, is the integers from zero to one less than the number of elements in the Collection, increasing by one each time the loop executes <code cla
ss="code">aFunction</code>.
+ One way to write a "do" loop is basically the same as telling the interpreter to "do this Function to every element in this Collection." The syntax looks like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">do</b>(</code><var class="pdparam">aCollection</var>, aFunction<code>(</code>number, number<code>)</code><code>)</code>;</p></div> ... or like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">aCollection.do</b>(</code>aFunction<code>(</code>number, number<code>)</code><code>)</code>;</p></div> This causes <code class="function">aFunction</code> to be executed once for each element in <em class="replaceable"><code>aCollection</code></em>, which can be any kind of Collection. Each time <code class="function">aFunction</code> is run, it is given two arguments, in this order: an element of <em class="replaceable"><code>aCollection</code></em>, and the elements index number. For Collection's that don't have index numbers
, it returns what the element's index number would have been. The loop always begins at the start of the Collection, and progresses with each element in order to the end. The second argument, really, is the integers from zero to one less than the number of elements in the Collection, increasing by one each time the loop executes <code class="function">aFunction</code>.
</div></div><div class="section" title="11.4.7.2. "Do This, This Many Times"" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do">11.4.7.2. "Do This, This Many Times"</h4></div></div></div><div class="para">
- Another way to write a "do" loop takes advantage of SuperCollider's flexibility, and is really the same as one of the methods above. It's basically equivalent to telling the interpreter to "run this Function this many times." The syntax looks like this, [pre]aNumber.do( aFunction );[/pre] This causes <code class="code">aFunction</code> to be executed <code class="code">aNumber</code> times. The interpreter still provdies two arguments to <code class="code">aFunction</code>, but they are the same: it is the integers from zero to one less than <code class="code">aNumber</code>. You might also think of it as the number of times that <code class="code">aFunction</code> has been executed ''prior'' to this particular execution.
+ Another way to write a "do" loop takes advantage of <span class="application"><strong>SuperCollider</strong></span>'s flexibility, and is really the same as one of the methods above. It's basically equivalent to telling the interpreter to "run this Function this many times." The syntax looks like this, <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">aNumber.do</b>(</code>aFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> This causes <code class="function">aFunction</code> to be execute <em class="replaceable"><code>aNumber</code></em> times. The interpreter still provdies two arguments to <code class="function">aFunction</code>, but they are the same: it is the integers from zero to one less than <em class="replaceable"><code>aNumber</code></em>. You might also think of it as the number of times that <code class="function">aFunction</code> has been executed prior to this particular execution.
</div></div><div class="section" title="11.4.7.3. Example "Do" Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples">11.4.7.3. Example "Do" Loops</h4></div></div></div><div class="para">
These examples illustrate different ways to use "do" loops for trivial tasks.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [27, 46, 102, 81, 34, 0, 39, 26, 203, 62]; do( tL, { arg item, rep; [rep, item].postln; }; ); nil; ) [/pre] This example is of the first syntax shown. For each element in <code class="code">tL</code>, the interpreter executes the Function once, giving it ''first'' the corresponding element of the Collection, and ''then'' the iteration counter, which happens to be equal to the element's List index number.
- </div><div class="para">
- [pre] ( var tL = List.new; var myFunc = { arg item; item.postln; }; tL = [27, 46, 102, 81, 34, 0, 39, 26, 203, 62]; tL.do( myFunc; ); nil; ) [/pre] This example does several things differently, but maintains the same basic functionality as the previous example. In this case, the Function only uses the first argument that the interpreter provides, and completely ignores the iteration counter. The syntax here also puts the Collection outside the parentheses, which perhaps makes it more clear that <code class="code">tL</code> is not part of the Function.
- </div><div class="para">
- [pre] ( 10.do( { "repeat".postln; }; ); nil; ) [/pre] This example simply prints the string "repeat" ten times. If the Function accepted one argument, it would receive the integers zero through nine. If it accepted two arguments, both of the arguments would be equal.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+ tL = [27, 46, 102, 81, 34, 0, 39, 26, 203, 62];
+
+ do( tL, { arg item, rep; [rep, item].postln; }; );
+
+ nil;
+)
+</pre>
+ This example is of the first syntax shown. For each element in <code class="code">tL</code>, the interpreter executes the Function once, giving it ''first'' the corresponding element of the Collection, and ''then'' the iteration counter, which happens to be equal to the element's List index number.
+ </div><div class="para">
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+ var myFunc =
+ {
+ arg item;
+ item.postln;
+ };
+
+ tL = [27, 46, 102, 81, 34, 0, 39, 26, 203, 62];
+
+ tL.do( myFunc; );
+
+ nil;
+)
+</pre>
+ This example does several things differently, but maintains the same basic functionality as the previous example. In this case, the Function only uses the first argument that the interpreter provides, and completely ignores the iteration counter. The syntax here also puts the Collection outside the parentheses, which perhaps makes it more clear that <code class="code">tL</code> is not part of the Function.
+ </div><div class="para">
+
+<pre class="programlisting">
+(
+ 10.do( { "repeat".postln; }; );
+
+ nil;
+)
+</pre>
+ This example simply prints the string "repeat" ten times. If the Function accepted one argument, it would receive the integers zero through nine. If it accepted two arguments, both of the arguments would be equal.
</div></div><div class="section" title="11.4.7.4. "Do This While"" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While">11.4.7.4. "Do This While"</h4></div></div></div><div class="para">
- "While" loops execute continuously while their "test condition" is evaluated to be "true". Upon reaching the loop, the SuperCollider interpreter executes the test condition. If it is "fale", the interpreter does not execute the loop, and continues with the code after the loop. If it is "true", the interpreter executes the code in the loop once, then re-executes the test condition. If the test condition is "true", the loop is executed, the test condition re-executed, and so on. Until the test condition returns "false", the interpreter will never leave the loop.
- </div><div class="para">
- Here is the format of a "while" loop in SuperCollider: [pre] while( testFunc, bodyFunc ); [/pre] or [pre] testFunc.while( bodyFunc ); [/pre] The test condition, called <code class="code">testFunc</code>, is a Function which returns a boolean value - either "true" or "false". The loop's body, called <code class="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 <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators" title="11.4.8.1. Boolean Operators">Section 11.4.8.1, “Boolean Operatorsâ€</a> and <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions" title="11.4.8.2. Boolean Expressions">Section 11.4.8.2, “Bool
ean Expressionsâ€</a>.
- </div><div class="para">
- The following three code blocks are equivalent: [pre] ( 10.do( { "repeat".postln; }; ); ) [/pre] and [pre] ( var counter = 0; while( { counter < 10; }, { "repeat".postln; counter = counter + 1; } ); ) [/pre] and [pre] ( var counter = 0; { counter < 10; }.while( { "repeat".postln; counter = counter + 1; } ); ) [/pre] You can see how it's easier to write this particular activity as a "do" loop. It's often the case that a "do" loop better reflects what you want to do, but not always.
- </div><div class="para">
- Contemplate a situation where you are waiting for the user to input some information, which you're going to use to calculate the rest of the composition. The following example isn't real code. It's intended to simplify a complex situation, so you can see where a "while" loop makes more sense than a "do" loop. [pre] play( some background music ); while( { is the user still inputting information? }, { keep playing music } ); stop( some background music ); [/pre] The background music is begun, and then the interpreter would enter the loop. For as long as the user is still inputting information, the interpreter will then "keep playing music." When the user is not still inputting information, the interpreter will move on to the next command, which stops the music. An equivalent "do" loop would be very difficult to write, if not impossible. This is because we won't know when the user has finished inputting their information until ''after'' they've finished, so we can't plan in
advance for how long to play background music.
+ "While" loops execute continuously while their "test condition" is evaluated to be "true". Upon reaching the loop, the <span class="application"><strong>SuperCollider</strong></span> interpreter executes the test condition. If it is "fale", the interpreter does not execute the loop, and continues with the code after the loop. If it is "true", the interpreter executes the code in the loop once, then re-executes the test condition. If the test condition is "true", the loop is executed, the test condition re-executed, and so on. Until the test condition returns "false", the interpreter will never leave the loop.
+ </div><div class="para">
+ Here is the format of a "while" loop in <span class="application"><strong>SuperCollider</strong></span>: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">while</b>(</code>boolean testFunction<code>(</code>number<code>)</code>, bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> or like this: <div class="funcsynopsis"><p><code class="funcdef">testFunction.<b class="fsfunc">while</b>(</code>bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> The test condition, called <code class="code">testFunc</code>, is a Function which returns a boolean value - either "true" or "false". The loop's body, called <code class="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 <span class="applicatio
n"><strong>SuperCollider</strong></span>, see <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators" title="11.4.8.1. Boolean Operators">Section 11.4.8.1, “Boolean Operatorsâ€</a> and <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions" title="11.4.8.2. Boolean Expressions">Section 11.4.8.2, “Boolean Expressionsâ€</a>.
+ </div><div class="para">
+ The following three code blocks are equivalent:
+<pre class="programlisting">
+(
+ 10.do( { "repeat".postln; }; );
+)
+</pre>
+ and
+<pre class="programlisting">
+(
+ var counter = 0;
+ while( { counter < 10; }, { "repeat".postln; counter = counter + 1; } );
+)
+</pre>
+ and
+<pre class="programlisting">
+(
+ var counter = 0;
+ { counter < 10; }.while( { "repeat".postln; counter = counter + 1; } );
+)
+</pre>
+ You can see how it's easier to write this particular activity as a "do" loop. It's often the case that a "do" loop better reflects what you want to do, but not always.
+ </div><div class="para">
+ Contemplate a situation where you are waiting for the user to input some information, which you're going to use to calculate the rest of the composition. The following example isn't real code. It's intended to simplify a complex situation, so you can see where a "while" loop makes more sense than a "do" loop.
+<pre class="programlisting">
+play( some background music );
+while( { is the user still inputting information? }, { keep playing music } );
+stop( some background music );
+</pre>
+ The background music is begun, and then the interpreter would enter the loop. For as long as the user is still inputting information, the interpreter will then "keep playing music." When the user is not still inputting information, the interpreter will move on to the next command, which stops the music. An equivalent "do" loop would be very difficult to write, if not impossible. This is because we won't know when the user has finished inputting their information until ''after'' they've finished, so we can't plan in advance for how long to play background music.
</div><div class="para">
Thus, the most appropriate use of a "while" loop is for cases where you cannot know in advance how many times something should be executed. For most other cases of repeated execution, a "do" loop is the most appropriate choice.
</div></div><div class="section" title="11.4.7.5. Other Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-">11.4.7.5. Other Loops</h4></div></div></div><div class="para">
- The default language provides two other loop structures, both of which are designed to iterate over a series of integer values: "for" loops and "forBy" loops. Their use is more limited than "do" loops. They are explained in the SuperCollider documentation.
+ The default language provides two other loop structures, both of which are designed to iterate over a series of integer values: "for" loops and "forBy" loops. Their use is more limited than "do" loops. They are explained in the <span class="application"><strong>SuperCollider</strong></span> documentation.
</div></div></div><div class="section" title="11.4.8. Conditional Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</h3></div></div></div><div class="para">
- Conditional execution tells the SuperCollider interpreter to execute code on the condition that something is true. SuperCollider offers three conditional execution structures, "if", "switch", and "case" statements. Each of these structures is controlled by one or a series of "boolean expressions" (sometimes called "conditional expressions"), which are composed of "boolean operators".
+ Conditional execution tells the <span class="application"><strong>SuperCollider</strong></span> interpreter to execute code on the condition that something is true. <span class="application"><strong>SuperCollider</strong></span> offers three conditional execution structures, "if", "switch", and "case" statements. Each of these structures is controlled by one or a series of "boolean expressions" (sometimes called "conditional expressions"), which are composed of "boolean operators".
</div><div class="section" title="11.4.8.1. Boolean Operators" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators">11.4.8.1. Boolean Operators</h4></div></div></div><div class="para">
Boolean operators evaluate to "true" or "false", and are most useful in boolean expressions, where they help to determine which portion of a program to execute.
</div><div class="para">
@@ -3807,83 +4434,412 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="11.4.8.2. Boolean Expressions" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions">11.4.8.2. Boolean Expressions</h4></div></div></div><div class="para">
Boolean expressions are expressions which, when executed, result in either "true" or "false". Boolean expressions must use at least one boolean operator (as listed above), or a Function which returns a boolean value. Boolean expressions can also use other operators and Functions.
</div><div class="section" title="11.4.8.2.1. Simple Expressions" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean">11.4.8.2.1. Simple Expressions</h5></div></div></div><div class="para">
- Here are a few simple boolean expressions. Of course, variables can be used in place of constant numbers: [pre] 5 < 60; // evaluates to "false" [/pre] [pre] 42 != 42; // evaluates to "false" [/pre] [pre] 42 == 42; // evaluates to "true" [/pre] [pre] 0.isPositive; // evaluates to "true" [/pre] [pre] isNegative( -256 ); // evaluates to "true" [/pre]
+ Here are a few simple boolean expressions. Of course, variables can be used in place of constant numbers:
+<pre class="programlisting">
+5 < 60; // evaluates to "false"
+42 != 42; // evaluates to "false"
+42 == 42; // evaluates to "true"
+0.isPositive; // evaluates to "true"
+isNegative( -256 ); // evaluates to "true"
+</pre>
+
</div></div><div class="section" title="11.4.8.2.2. Assignment/Equality Mistake" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake">11.4.8.2.2. Assignment/Equality Mistake</h5></div></div></div><div class="para">
- Beware the following pitfall, common to a large number of programming languages: [pre] a == 42; // evaluates to "true" or "false", depending on the value in "a" [/pre] [pre] a = 42; // assigns the value 42 to "a", over-writing the previously-stored value [/pre] One possible work-around is to write the number first. [pre] 42 == a; // evaluates to "true" or "false", depending on the value in "a" [/pre] [pre] 42 = a; // causes an error, because you can't assign a value to a constant number [/pre] This way, if you accidentally leave out one of the "=" signs, the interpreter will stop execution and produce an error, rather than continuing with an unexpected assignment.
+ Beware the following pitfall, common to a large number of programming languages:
+<pre class="programlisting">
+a == 42; // evaluates to "true" or "false", depending on the value in "a"
+a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
+</pre>
+ One possible work-around is to write the number first.
+<pre class="programlisting">
+42 == a; // evaluates to "true" or "false", depending on the value in "a"
+42 = a; // causes an error, because you can't assign a value to a constant number
+</pre>
+ This way, if you accidentally leave out one of the <code class="literal">=</code> signs, the interpreter will stop execution and produce an error, rather than continuing with an unexpected assignment.
</div></div><div class="section" title="11.4.8.2.3. Equality versus Identity" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity">11.4.8.2.3. Equality versus Identity</h5></div></div></div><div class="para">
- The identity-equivalence operators are not usually needed. [pre] ( var a = [12,24,48]; var b = [12,24,48]; a == b; // evaluates to "true" a === b; // evaluates to "false" ) [/pre] The "==" operator evaluates to "true" because "a" and "b" represent equivalent Objects - they are ''equal''. The "===" operator evaluates to "false" because "a" and "b" represent different instances of the Objects - they are not ''identical''. [pre] ( var a = [12,24,48]; var b = a; a == b; // evaluates to "true" a === b; // evaluates to "true" ) [/pre] In this case, the "==" operator still evaluates to "true". The "===" operator also evaluates to "true", because "a" and "b" both represent the same Object. When the interpreter evaluates <code class="code">var b = a;</code> in the example above, it actually assigns "b" the same value that "a" stores, not a copy of it.
- </div></div><div class="section" title="11.4.8.2.4. Logical And and Or" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or">11.4.8.2.4. Logical And and Or</h5></div></div></div><div class="para">
+ The identity-equivalence operators are not usually needed.
+<pre class="programlisting">
+(
+ var a = [12,24,48];
+ var b = [12,24,48];
+
+ a == b; // evaluates to "true"
+ a === b; // evaluates to "false"
+)
+</pre>
+ The <code class="code">==</code> operator evaluates to <code class="literal">true</code> because <code class="literal">a</code> and <code class="literal">b</code> represent equivalent Objects - they are equal. The <code class="code">===</code> operator evaluates to <code class="literal">false</code> because <code class="literal">a</code> and <code class="literal">b</code> represent different instances of the Objects - they are not identical.
+<pre class="programlisting">
+(
+ var a = [12,24,48];
+ var b = a;
+
+ a == b; // evaluates to "true"
+ a === b; // evaluates to "true"
+)
+</pre>
+ In this case, the <code class="code">==</code> operator still evaluates to <code class="literal">true</code>. The <code class="code">===</code> operator also evaluates to <code class="literal">true</code>, because <code class="literal">a</code> and <code class="literal">b</code> both represent the same Object. When the interpreter evaluates <code class="code">var b = a;</code> in the example above, it actually assigns <code class="literal">b</code> the same value that <code class="literal">a</code> stores, not a copy of it.
+ </div></div><div class="section" title="11.4.8.2.4. Logical And and Or" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or">11.4.8.2.4. Logical <code class="literal">And</code> and <code class="literal">Or</code></h5></div></div></div><div class="para">
The logical And and Or operators must receive two boolean arguments. Logical And returns "true" if both of its arguments are "true". Logical Or returns "true" if one of its arguments are "true".
</div><div class="para">
- The following table illustrates how the SuperCollider interpreter will evaluate each of the following situations. {| ! If the left sub-expression evaluates to... !! ... and the right sub-expression evaluates to... !! ... then logical And would evaluate to... !! ... and logical Or would evaluate to... |- | true || false || false || true |- | false || true || false || true |- | true || true || true || true |- | false || false || false || false |}
+ The following table illustrates how the <span class="application"><strong>SuperCollider</strong></span> interpreter will evaluate each of the following situations. {| ! If the left sub-expression evaluates to... !! ... and the right sub-expression evaluates to... !! ... then logical And would evaluate to... !! ... and logical Or would evaluate to... |- | true || false || false || true |- | false || true || false || true |- | true || true || true || true |- | false || false || false || false |}
</div><div class="para">
The interpreter evaluates the expression on the left first, and then the expression on the right ''only'' if it will influence the outcome. This means that, if the left-side expression of a logical Or operator evaluates to "true", the interpreter will not test the right-side expression, because the result will be "true" anyway. Similarly, if the left-side expression of a logical And operator evaluates to "false", the interpreter will not test the right-side expression, because the result will be "false" anyway.
</div><div class="para">
- This can be exploited to help avoid errors like division-by-zero. [pre] ( var x = 5.rand; // assigns a pseudo-random number between 0 and 5 ( x != 0 ) && ( { x = 17 / x; } ); // doesn't divide by x if it would cause division-by-zero x; // the interpreter automatically prints this value after execution ) [/pre] If the left-side expression of the logical And operator is "false", the interpreter doesn't evaluate the right-side expression; it simply moves on to the next expression. If the left-side expression is "true" (meaning that x is not zero), then the right-side expression is evaluated. The right-side expression happens to be a Function which assigns "x" the result of dividing 17 by its previous value. The result of the logical And operation is simply discarded in this case - it doesn't really matter to us. This isn't the most straight-forward code, and there are other ways to avoid division-by-zero. If you use this, it's probably best to include a brief expla
nation of what the code does, as a commment.
+ This can be exploited to help avoid errors like division-by-zero.
+<pre class="programlisting">
+(
+ var x = 5.rand; // assigns a pseudo-random number between 0 and 5
+
+ ( x != 0 ) && ( { x = 17 / x; } ); // doesn't divide by x if it would cause division-by-zero
+
+ x; // the interpreter automatically prints this value after execution
+)
+</pre>
+ If the left-side expression of the logical And operator is "false", the interpreter doesn't evaluate the right-side expression; it simply moves on to the next expression. If the left-side expression is "true" (meaning that x is not zero), then the right-side expression is evaluated. The right-side expression happens to be a Function which assigns "x" the result of dividing 17 by its previous value. The result of the logical And operation is simply discarded in this case - it doesn't really matter to us. This isn't the most straight-forward code, and there are other ways to avoid division-by-zero. If you use this, it's probably best to include a brief explanation of what the code does, as a commment.
</div><div class="para">
- If you run this code many times, you will see that it gives many different results - one of which is zero, which proves that the code works as intended. If SuperCollider divides by zero, the result is "inf", representing infinity. Try modifying the code so that it will divide by zero, and see what happens.
+ If you run this code many times, you will see that it gives many different results - one of which is zero, which proves that the code works as intended. If <span class="application"><strong>SuperCollider</strong></span> divides by zero, the result is "inf", representing infinity. Try modifying the code so that it will divide by zero, and see what happens.
</div></div><div class="section" title="11.4.8.2.5. Order of Precedence" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence">11.4.8.2.5. Order of Precedence</h5></div></div></div><div class="para">
In complicated boolean expressions, it's important to clarify the order in which you want sub-expressions to be executed. This order is called the "order of precedence," or "order of operations" (see <em class="citetitle">Order of Operations (Wikipedia)</em>, available at <a href="http://en.wikipedia.org/wiki/Order_of_operations">http://en.wikipedia.org/wiki/Order_of_operations</a> for more information). In computer science, different programming languages enforce different orders of precedence, so you should use parentheses to clarify your intended order, to proactively avoid later confusion. The interpreter will evaluate an expression from left to right, and always fully evaluate parentheses before continuing.
</div><div class="para">
- Even simple expression can benefit from parentheses. These produce the same results: [pre] ( var a = 5 == 5 && 17 != 5; var b = ( 5 == 5 ) && ( 17 != 5 ); // parentheses help to clarify a == b; // evaluates to "true" ) [/pre] [pre] ( var a = 5.isPositive && isNegative( 6 ) || 12 + 5 * 42 - 1 > 18 ; var b = ( 5.isPositive && isNegative( 6 ) ) || ( ((12 + 5) * 42 - 1) > 18 ); // parentheses help to clarify a && b; // evaluates to "true" ) [/pre] And perhaps even more surprisingly... [pre] ( 12 + 5 * 42 - 1 ) != ( (12 + 5) * 42 - 1 ); [/pre] ... evaluates to "false"! They're equal - the interpreter doesn't follow the standard mathematical order of precedence rules! SuperCollider evaluates from left to right, so it's important to clarify to the interpreter what you mean. Where would you put parentheses so that SuperCollider evaluates the expression as per the standard mathematical order of precedence rules, with multiplication b
efore addition and subtraction?
+ Even simple expression can benefit from parentheses. These produce the same results:
+<pre class="programlisting">
+(
+ var a = 5 == 5 && 17 != 5;
+ var b = ( 5 == 5 ) && ( 17 != 5 ); // parentheses help to clarify
+
+ a == b; // evaluates to "true"
+)
+</pre>
+
+<pre class="programlisting">
+(
+ var a = 5.isPositive && isNegative( 6 ) || 12 + 5 * 42 - 1 > 18 ;
+ var b = ( 5.isPositive && isNegative( 6 ) ) || ( ((12 + 5) * 42 - 1) > 18 ); // parentheses help to clarify
+
+ a && b; // evaluates to "true"
+)
+</pre>
+ And perhaps even more surprisingly...
+<pre class="programlisting">( 12 + 5 * 42 - 1 ) != ( (12 + 5) * 42 - 1 );</pre>
+ ... evaluates to "false"! They're equal - the interpreter doesn't follow the standard mathematical order of precedence rules! <span class="application"><strong>SuperCollider</strong></span> evaluates from left to right, so it's important to clarify to the interpreter what you mean. Where would you put parentheses so that <span class="application"><strong>SuperCollider</strong></span> evaluates the expression as per the standard mathematical order of precedence rules, with multiplication before addition and subtraction?
</div></div></div><div class="section" title="11.4.8.3. "If This Is True, Then... "" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements">11.4.8.3. "If This Is True, Then... "</h4></div></div></div><div class="para">
The "if" structure is provided a boolean expression and two Functions. If the expression evaluates to "true", it executes one Function. If the expression evaluates to "false", it executes the other Function.
</div><div class="para">
- Here are the two ways to write an "if" structure: [pre] if ( booleanExpression, trueFunction, falseFunction ); [/pre] and [pre] booleanExpression.if( trueFunction, falseFunction ); [/pre] It's possible to exclude the <code class="code">falseFunction</code>, which is like telling the interpreter, "If the boolean expression is true, then execute this Function. Otherwise, don't execute it."
- </div><div class="para">
- [pre] ( var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List if ( ( true == test ), { "It's true!".postln; }, { "It's false!".postln; } ); nil; ) [/pre] This example prints out a nice message, saying whether <code class="code">test</code> is "true" or "false". Because <code class="code">test</code> is already a boolean value, we don't need to include it in an expression. The "if" statement could have been shortened like this: <code class="code">if ( test, { "It's true!".postln; }, { "It's false!".postln; } );</code>
- </div><div class="para">
- Suppose we only wanted to be alerted if <code class="code">test</code> is "true". [pre] ( var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List test.if( { "It's true!".postln; } ); nil; ) [/pre] In this example, the alternate "if" syntax is used, where the boolean expression is placed before the parentheses.
- </div><div class="para">
- "If" structures can also be "nested," which is like telling the interpreter, "If this is true, do this; otherwise if this is true, do this; otherwise if this is true, do this." In this relatively simple example of nesting, the interpreter evaluates each "if" structure only if the previous one was "false". [pre] ( var test = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List if( 1 == test, { "It's one!".postln; }, if( 2 == test, { "It's two!".postln; }, if( 3 == test, { "It's three!".postln; } ) ) ); nil; ) [/pre]
- </div><div class="para">
- This is a more complex example of nesting: [pre] ( var testA = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List var testB = [1,2,3].choose; if( 1 == testA, { ( 1 == testB ).if( { "It's one and one!".postln; }, ( 2 == testB ).if( { "It's one and two!".postln; }, ( 3 == testB ).if( { "It's one and three!".postln; } ) ) ); }, if( 2 == testA, { ( 1 == testB ).if( { "It's two and one!".postln; }, ( 2 == testB ).if( { "It's two and two!".postln; }, ( 3 == testB ).if( { "It's two and three!".postln; } ) ) ); }, if( 3 == testA, { ( 1 == testB ).if( { "It's three and one!".postln; }, ( 2 == testB ).if( { "It's three and two!".postln; }, ( 3 == testB ).if( { "It's three and three!".postln; } ) ) ); } ) ) ); nil; ) [/pre] As you can see, this type of nesting is not easy to figure out - from the standpoint of the original programmer or somebody else who wishes to use your code. In writing this example, it took me several attempts before getting the parenthe
ses and braces right. Usually, if you have a long list of possibilities to test (like the nine in this example), it is better to use a "case" or "switch" structure. Not only does this help to make the code easier to understand, but the SuperCollider interpreter can apply optimizations that make the code run marginally faster.
+ Here are the two ways to write an "if" structure:
+<pre class="programlisting">if ( booleanExpression, trueFunction, falseFunction );</pre>
+ and
+<pre class="programlisting">booleanExpression.if( trueFunction, falseFunction );</pre>
+ It's possible to exclude the <code class="code">falseFunction</code>, which is like telling the interpreter, "If the boolean expression is true, then execute this Function. Otherwise, don't execute it."
+ </div><div class="para">
+
+<pre class="programlisting">
+(
+ var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List
+
+ if ( ( true == test ), { "It's true!".postln; }, { "It's false!".postln; } );
+ nil;
+)
+</pre>
+ This example prints out a nice message, saying whether <code class="code">test</code> is "true" or "false". Because <code class="code">test</code> is already a boolean value, we don't need to include it in an expression. The "if" statement could have been shortened like this: <code class="code">if ( test, { "It's true!".postln; }, { "It's false!".postln; } );</code>
+ </div><div class="para">
+ Suppose we only wanted to be alerted if <code class="code">test</code> is "true".
+<pre class="programlisting">
+(
+ var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List
+
+ test.if( { "It's true!".postln; } );
+ nil;
+)
+</pre>
+ In this example, the alternate "if" syntax is used, where the boolean expression is placed before the parentheses.
+ </div><div class="para">
+ "If" structures can also be "nested," which is like telling the interpreter, "If this is true, do this; otherwise if this is true, do this; otherwise if this is true, do this." In this relatively simple example of nesting, the interpreter evaluates each "if" structure only if the previous one was "false".
+<pre class="programlisting">
+(
+ var test = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List
+
+ if( 1 == test, { "It's one!".postln; },
+ if( 2 == test, { "It's two!".postln; },
+ if( 3 == test, { "It's three!".postln; } ) ) );
+
+ nil;
+)
+</pre>
+
+ </div><div class="para">
+ This is a more complex example of nesting:
+<pre class="programlisting">
+(
+ var testA = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List
+ var testB = [1,2,3].choose;
+
+ if( 1 == testA, { ( 1 == testB ).if( { "It's one and one!".postln; },
+ ( 2 == testB ).if( { "It's one and two!".postln; },
+ ( 3 == testB ).if( { "It's one and three!".postln; } ) ) ); },
+ if( 2 == testA, { ( 1 == testB ).if( { "It's two and one!".postln; },
+ ( 2 == testB ).if( { "It's two and two!".postln; },
+ ( 3 == testB ).if( { "It's two and three!".postln; } ) ) ); },
+ if( 3 == testA, { ( 1 == testB ).if( { "It's three and one!".postln; },
+ ( 2 == testB ).if( { "It's three and two!".postln; },
+ ( 3 == testB ).if( { "It's three and three!".postln; } ) ) ); } ) ) );
+
+ nil;
+)
+</pre>
+ As you can see, this type of nesting is not easy to figure out - from the standpoint of the original programmer or somebody else who wishes to use your code. In writing this example, it took me several attempts before getting the parentheses and braces right. Usually, if you have a long list of possibilities to test (like the nine in this example), it is better to use a "case" or "switch" structure. Not only does this help to make the code easier to understand, but the <span class="application"><strong>SuperCollider</strong></span> interpreter can apply optimizations that make the code run marginally faster.
</div></div><div class="section" title="11.4.8.4. "Switch Execution to This Path"" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements">11.4.8.4. "Switch Execution to This Path"</h4></div></div></div><div class="para">
A "switch" structure can be most easily understood by comparison to a switch in a railway line. As a train approaches a railway switch, an operator inspects the train, and decides whether it should be going to the passenger station, the freight station, or the garage for storage. A "switch" structure - like a railways switch, can only act on one Object at a time, but the Object can be a Collection, allowing you to compare multiple things at once. Each case is tested with the boolean equality operator before being executed.
</div><div class="para">
- Here is the syntax of a "switch" statement: [pre] case( compareThis, toThis1, { doThis; }, toThis2, { doThis; }, toThis3, { doThis; } ); [/pre] You can include any number of cases. Notice that there is no comma after the last case, and that I've put the concluding ");" on a separate line with the same indentation as the word "case", so that it's easy to see.
- </div><div class="para">
- The following example shows a simple switch. [pre] ( var grade = 11.rand + 1; // pseudo-randomly chooses 0 to 11, then adds 1 to give 1 to 12 grade = switch( grade, 1, { "D-" }, 2, { "D" }, 3, { "D+" }, 4, { "C-" }, 5, { "C" }, 6, { "C+" }, 7, { "B-" }, 8, { "B" }, 9, { "B+" }, 10, { "A-" }, 11, { "A" }, 12, { "A+" } ); ("Your grade is" + grade).postln; nil; ) [pre] The code picks a pseudo-random number between 1 and 12, then uses a "switch" structure to convert that number into a letter-grade, assigning it to the same <code class="code">grade</code> variable. Then, it adds the "Your grade is" string to the value of <code class="code">grade</code> (with a space between), and prints that result.
- </div><div class="para">
- This example avoids the complex nested "if" structure from above. [pre] ( var testA = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List var testB = [1,2,3].choose; switch( [testA,testB], [1,1], { "It's one and one!".postln; }, [1,2], { "It's one and two!".postln; }, [1,3], { "It's one and three!".postln; }, [2,1], { "It's two and one!".postln; }, [2,2], { "It's two and two!".postln; }, [2,3], { "It's two and thre!".postln; }, [3,1], { "It's three and one!".postln; }, [3,2], { "It's three and two!".postln; }, [3,3], { "It's three and three!".postln; } ); nil; ) [/pre] This is an elegant way to inspect two otherwise-separate variables. Remember that the first argument to "switch" (in this case, it's <code class="code">[testA,tesB]</code>) is compared to the first argument of possibe result with the equality operator: "==".
- </div><div class="para">
- When evaluating which switch to use, the SuperCollider interpreter will always apply the ''last'' one that evaluates to "true". [pre] ( switch( 5, 5, { "one".postln; }, 5, { "two".postln; }, 5, { "three".postln; } ); nil; ) [/pre] All of these cases are true, but this will always result in "three" being printed.
+ Here is the syntax of a "switch" statement:
+<pre class="programlisting">
+case( compareThis,
+ toThis1, { doThis; },
+ toThis2, { doThis; },
+ toThis3, { doThis; }
+);
+</pre>
+ You can include any number of cases. Notice that there is no comma after the last case, and that I've put the concluding ");" on a separate line with the same indentation as the word "case", so that it's easy to see.
+ </div><div class="para">
+ The following example shows a simple switch.
+<pre class="programlisting">
+(
+ var grade = 11.rand + 1; // pseudo-randomly chooses 0 to 11, then adds 1 to give 1 to 12
+
+ grade =
+ switch( grade,
+ 1, { "D-" },
+ 2, { "D" },
+ 3, { "D+" },
+ 4, { "C-" },
+ 5, { "C" },
+ 6, { "C+" },
+ 7, { "B-" },
+ 8, { "B" },
+ 9, { "B+" },
+ 10, { "A-" },
+ 11, { "A" },
+ 12, { "A+" }
+ );
+
+ ("Your grade is" + grade).postln;
+ nil;
+)
+</pre>
+ The code picks a pseudo-random number between 1 and 12, then uses a "switch" structure to convert that number into a letter-grade, assigning it to the same <code class="code">grade</code> variable. Then, it adds the "Your grade is" string to the value of <code class="code">grade</code> (with a space between), and prints that result.
+ </div><div class="para">
+ This example avoids the complex nested "if" structure from above.
+<pre class="programlisting">
+(
+ var testA = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List
+ var testB = [1,2,3].choose;
+
+ switch( [testA,testB],
+ [1,1], { "It's one and one!".postln; },
+ [1,2], { "It's one and two!".postln; },
+ [1,3], { "It's one and three!".postln; },
+ [2,1], { "It's two and one!".postln; },
+ [2,2], { "It's two and two!".postln; },
+ [2,3], { "It's two and thre!".postln; },
+ [3,1], { "It's three and one!".postln; },
+ [3,2], { "It's three and two!".postln; },
+ [3,3], { "It's three and three!".postln; }
+ );
+
+ nil;
+)
+</pre>
+ This is an elegant way to inspect two otherwise-separate variables. Remember that the first argument to "switch" (in this case, it's <code class="code">[testA,tesB]</code>) is compared to the first argument of possibe result with the equality operator: "==".
+ </div><div class="para">
+ When evaluating which switch to use, the <span class="application"><strong>SuperCollider</strong></span> interpreter will always apply the ''last'' one that evaluates to "true".
+<pre class="programlisting">
+(
+ switch( 5,
+ 5, { "one".postln; },
+ 5, { "two".postln; },
+ 5, { "three".postln; }
+ );
+
+ nil;
+)
+</pre>
+ All of these cases are true, but this will always result in "three" being printed.
</div></div><div class="section" title="11.4.8.5. "In This Case, Do This"" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements">11.4.8.5. "In This Case, Do This"</h4></div></div></div><div class="para">
"Case" and "switch" structures look similar, but work in subtly different way. A "switch" structure is like a railway switch, allowing one train to be routed onto the right track, according to qualities of the train. A "case" structure, on the other hand, works like somebody trying to decide how to get to work. The person might ask themselves how far they are going, how long they have to get to work, how fast the available options are, what the available options cost, and so on. While in a "switch" structure, the path of execution is determined by examining only one Object, a "case" structure determines the path of execution based on any number of things.
</div><div class="para">
- Here is the syntax of a "case" structure: [pre] case booleanFunction resultFunction booleanFunction resultFunction booleanFunction resultFunction booleanFunction resultFunction ; [/pre]
- </div><div class="para">
- Contemplate the following pseudo-code example, which represents a possible musical sitation, and a good use of the "case" structure. [pre] ( var coolFunction = { case { is there no music playing? AND people are in the room } { play music } { has the same song been playing for too long? OR is the song boring? } { change the song } { has everybody left the room? } { turn off the music } { has a song been requested? } { change to that song } { is the music too loud? } { lower the music's volume } { is the music too quiet? } { raise the music's volume } { is the music too fast? } { lower the music's tempo } { is the music too slow? } { raise the music's tempo } { is everything okay? } { wait for 10 seconds } ; }; ( 5 == 5 ).while( coolFunction ); // executes coolFunction contiuously ) [/pre] It might seem like this example doesn't relate to a real SuperCollider programming situation, but in fact it might. If you could program Function's which determined all of those question
s and all of the answers, this sort of "case" structure would be very helpful in a situation where a computer running SuperCollider were left in a room by itself, and expected to play music whenever anybody entered the room. Since five is always equal to five, the interpreter will run <code class="code">coolFunction</code> forever. If the music needs adjustment in some way, the Function will adjust the music. If everything is okay, then the interpreter will wait for 10 seconds, and then the loop will cause the Function to be re-evaluated. Because many different criteria are evaluated in the "case" structure, this represents an efficient use of the structure.
- </div><div class="para">
- "Case" structures can be used to do the same thing as "switch" structures, but it's usually less elegant solution. Also, it doesn't allow the interpreter to use an speed optimization that it would have used in an equivalent "switch" structure. [pre] ( var grade = 11.rand + 1; // pseudo-randomly chooses 0 to 11, then adds 1 to give 1 to 12 grade = case { 1 == grade; } { "D-" } { 2 == grade; } { "D" } { 3 == grade; } { "D+" } { 4 == grade; } { "C-" } { 5 == grade; } { "C" } { 6 == grade; } { "C+" } { 7 == grade; } { "B-" } { 8 == grade; } { "B" } { 9 == grade; } { "B+" } { 10 == grade; } { "A-" } { 11 == grade; } { "A" } { 12 == grade; } { "A+" } ; ("Your grade is" + grade).postln; nil; ) [/pre] This example is equivalent to one of the "switch" structure examples. This is not a good use of the "case" structure, because it requires a lot of code repetition.
- </div><div class="para">
- Unlike a "switch" structure, a "case" structure will always follow the ''first'' case that evaluates to "true". [pre] ( case { 5 == 5; } { "one".postln; } { 5 == 5; } { "two".postln; } { 5 == 5; } { "three".postln; } ; nil; ) [/pre] This example will always result in "one" being printed.
+ Here is the syntax of a "case" structure:
+<pre class="programlisting">
+case
+ <replaceable>booleanFunction</replaceable> <replaceable>resultFunction</replaceable>
+ <replaceable>booleanFunction</replaceable> <replaceable>resultFunction</replaceable>
+ <replaceable>booleanFunction</replaceable> <replaceable>resultFunction</replaceable>
+ <replaceable>booleanFunction</replaceable> <replaceable>resultFunction</replaceable>
+;
+</pre>
+
+ </div><div class="para">
+ Contemplate the following pseudo-code example, which represents a possible musical sitation, and a good use of the "case" structure.
+<pre class="programlisting">
+(
+ var coolFunction =
+ {
+ case
+ { is there no music playing?
+ AND people are in the room } { play music }
+ { has the same song been playing for too long?
+ OR is the song boring? } { change the song }
+ { has everybody left the room? } { turn off the music }
+ { has a song been requested? } { change to that song }
+ { is the music too loud? } { lower the music's volume }
+ { is the music too quiet? } { raise the music's volume }
+ { is the music too fast? } { lower the music's tempo }
+ { is the music too slow? } { raise the music's tempo }
+ { is everything okay? } { wait for 10 seconds }
+ ;
+ };
+
+ ( 5 == 5 ).while( coolFunction ); // executes coolFunction contiuously
+)
+</pre>
+ It might seem like this example doesn't relate to a real <span class="application"><strong>SuperCollider</strong></span> programming situation, but in fact it might. If you could program Function's which determined all of those questions and all of the answers, this sort of "case" structure would be very helpful in a situation where a computer running <span class="application"><strong>SuperCollider</strong></span> were left in a room by itself, and expected to play music whenever anybody entered the room. Since five is always equal to five, the interpreter will run <code class="code">coolFunction</code> forever. If the music needs adjustment in some way, the Function will adjust the music. If everything is okay, then the interpreter will wait for 10 seconds, and then the loop will cause the Function to be re-evaluated. Because many different criteria are evaluated in the "case" structure, this represents an efficient use of the structure.
+ </div><div class="para">
+ "Case" structures can be used to do the same thing as "switch" structures, but it's usually less elegant solution. Also, it doesn't allow the interpreter to use an speed optimization that it would have used in an equivalent "switch" structure.
+<pre class="programlisting">
+(
+ var grade = 11.rand + 1; // pseudo-randomly chooses 0 to 11, then adds 1 to give 1 to 12
+
+ grade =
+ case
+ { 1 == grade; } { "D-" }
+ { 2 == grade; } { "D" }
+ { 3 == grade; } { "D+" }
+ { 4 == grade; } { "C-" }
+ { 5 == grade; } { "C" }
+ { 6 == grade; } { "C+" }
+ { 7 == grade; } { "B-" }
+ { 8 == grade; } { "B" }
+ { 9 == grade; } { "B+" }
+ { 10 == grade; } { "A-" }
+ { 11 == grade; } { "A" }
+ { 12 == grade; } { "A+" }
+ ;
+
+ ("Your grade is" + grade).postln;
+ nil;
+)
+</pre>
+ This example is equivalent to one of the "switch" structure examples. This is not a good use of the "case" structure, because it requires a lot of code repetition.
+ </div><div class="para">
+ Unlike a "switch" structure, a "case" structure will always follow the ''first'' case that evaluates to "true".
+<pre class="programlisting">
+(
+ case
+ { 5 == 5; } { "one".postln; }
+ { 5 == 5; } { "two".postln; }
+ { 5 == 5; } { "three".postln; }
+ ;
+
+ nil;
+)
+</pre>
+ This example will always result in "one" being printed.
</div></div></div><div class="section" title="11.4.9. Combining Audio; the Mix Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</h3></div></div></div><div class="para">
- One of the requirements of multi-channel audio is the ability to combine a large number of UGen's into a small number of channels - normally just two. The SuperCollider interpreter allows you to accomplish this in a number of ways, which are explained here.
+ One of the requirements of multi-channel audio is the ability to combine a large number of UGen's into a small number of channels - normally just two. The <span class="application"><strong>SuperCollider</strong></span> interpreter allows you to accomplish this in a number of ways, which are explained here.
</div><div class="section" title="11.4.9.1. The "Mix" Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class">11.4.9.1. The "Mix" Class</h4></div></div></div><div class="para">
The "Mix" Class allows you to combine a mutli-channel Array into one channel. It's just that simple: you put in an Array of UGens, and out comes a single-channel combination of them.
</div><div class="para">
- Here are the two possible syntaxes for the "Mix" Class: [pre] Mix.new( ArrayOfUGens ); [/pre] and [pre] Mix( ArrayOfUGens ); [/pre] The second form is simply a short-hand version of the first. The "Mix" Class doesn't really create "Mix" Objects either - it's just a Function that combines many UGen's into one.
+ Here are the two possible syntaxes for the "Mix" Class: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Mix.new</b>(</code><var class="pdparam">ArrayOfUGens</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Mix</b>(</code><var class="pdparam">ArrayOfUGens</var><code>)</code>;</p></div> The second form is simply a short-hand version of the first. The <code class="classname">Mix</code> Class doesn't really create "Mix" Objects either - it's just a Function that combines many UGen's into one.
</div><div class="para">
- Here's an example of the "Mix" Class in action: [pre] { Mix( [SinOsc.ar(220, 0, 0.1), SinOsc.ar(440, 0, 0.1), SinOsc.ar(660, 0, 0.1), SinOsc.ar(880, 0, 0.1), SinOsc.ar(850, 0, 0.1), SinOsc.ar(870, 0, 0.1), SinOsc.ar(880, 0, 0.1), SinOsc.ar(885, 0, 0.1), SinOsc.ar(890, 0, 0.1), SinOsc.ar(1000, 0, 0.1)] ); }.play; [/pre] Notice how all of these SinOsc's are heard through the left channel only. The "Mix" Class mixes all the UGen's together into one. You could use a bus to send the audio to both the left and right channels. What happens if we don't use the Mix Class? Try removing the Function, and find out. You only hear some of the SinOsc's. Which ones? The first two, representing the left and right channels. If your audio interface has more than two channels, you may be able to hear more than those first two channels.
- </div><div class="para">
- There is another Function offered by the Mix Class, and it is a kind of loop. The Function is called <code class="code">Fill</code>, and it takes two arguments: the number of times to run a Function, and the Function to run. The Function is provided with one argument (like in a "do" loop), which is the number of times the Function has ''already'' been run. [pre] ( var n = 8; var sineFunc = { arg iteration; var freq = 440 + iteration; SinOsc.ar( freq:freq, mul:1/n ); }; { Mix.fill( n, sineFunc ); }.play; ) [/pre] As you can see, the "fill" Function itself is quite simple: you provide the number of UGen's to create, and a Function that creates UGen's. It's the <code class="code">sineFunc</code> Function that is a little confusing. The argument is called "iteration", because it holds how many times the Function has already been run - how many iterations have happened already. It uses this value to help calculate the frequency (stored in a variable called "freq"), and then c
reates a SinOsc UGen. The "mul" argument helps to automatically control the volume level. Since the total volume should be no more than 1.0, the "sineFunc" Function calculates UGen's' volume by dividing 1, the maximum level, by the number of UGen's that will be created. The slowly pulsating volume is part of the acoustic result of this many frequencies being so close together - it is not a hidden effect by SuperCollider.
+ Here's an example of the "Mix" Class in action:
+<pre class="programlisting">
+{
+ Mix( [SinOsc.ar(220, 0, 0.1),
+ SinOsc.ar(440, 0, 0.1),
+ SinOsc.ar(660, 0, 0.1),
+ SinOsc.ar(880, 0, 0.1),
+ SinOsc.ar(850, 0, 0.1),
+ SinOsc.ar(870, 0, 0.1),
+ SinOsc.ar(880, 0, 0.1),
+ SinOsc.ar(885, 0, 0.1),
+ SinOsc.ar(890, 0, 0.1),
+ SinOsc.ar(1000, 0, 0.1)] );
+}.play;
+</pre>
+ Notice how all of these SinOsc's are heard through the left channel only. The "Mix" Class mixes all the UGen's together into one. You could use a bus to send the audio to both the left and right channels. What happens if we don't use the Mix Class? Try removing the Function, and find out. You only hear some of the SinOsc's. Which ones? The first two, representing the left and right channels. If your audio interface has more than two channels, you may be able to hear more than those first two channels.
+ </div><div class="para">
+ There is another Function offered by the Mix Class, and it is a kind of loop. The Function is called <code class="code">Fill</code>, and it takes two arguments: the number of times to run a Function, and the Function to run. The Function is provided with one argument (like in a "do" loop), which is the number of times the Function has ''already'' been run.
+<pre class="programlisting">
+(
+ var n = 8;
+ var sineFunc =
+ {
+ arg iteration;
+
+ var freq = 440 + iteration;
+ SinOsc.ar( freq:freq, mul:1/n );
+ };
+
+ { Mix.fill( n, sineFunc ); }.play;
+)
+</pre>
+ As you can see, the "fill" Function itself is quite simple: you provide the number of UGen's to create, and a Function that creates UGen's. It's the <code class="code">sineFunc</code> Function that is a little confusing. The argument is called "iteration", because it holds how many times the Function has already been run - how many iterations have happened already. It uses this value to help calculate the frequency (stored in a variable called "freq"), and then creates a SinOsc UGen. The "mul" argument helps to automatically control the volume level. Since the total volume should be no more than 1.0, the "sineFunc" Function calculates UGen's' volume by dividing 1, the maximum level, by the number of UGen's that will be created. The slowly pulsating volume is part of the acoustic result of this many frequencies being so close together - it is not a hidden effect by <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="11.4.9.2. Arrays of Arrays" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays">11.4.9.2. Arrays of Arrays</h4></div></div></div><div class="para">
There is another way to combine many UGen's into two channels for stereo output: rather than sending the Array's to the Mix class, combine them into a two-element Array.
</div><div class="para">
- [pre] { [ [ SinOsc.ar(440, 0, 0.1), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.1 ) ], [ SinOsc.ar(440, 0, 0.1), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.1 ) ] ]; }.play; [/pre] Here, a two-element Array is the result of a Function, which gets sent the "play" message. Each of the elements is an equivalent, three-element Array where each element is a UGen.
- </div><div class="para">
- This representation also offers another benefit: each UGen can have a different "mul" value, which will be preserved. [pre] { [ [ SinOsc.ar(440, 0, 0.2), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.05 ) ], [ SinOsc.ar(440, 0, 0.2), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.05 ) ] ]; }.play; [/pre] This sounds much less harsh than the first example. Try it with the Mix Class. Even with the different "mul" values, it sounds the same as the first example! This helps Mix to ensure that the total level doesn't exceed 1.0, but it has the disadvantage that careful level-balancing on your part will be erased.
+
+<pre class="programlisting">
+{
+ [
+ [ SinOsc.ar(440, 0, 0.1), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.1 ) ],
+ [ SinOsc.ar(440, 0, 0.1), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.1 ) ]
+ ];
+}.play;
+</pre>
+ Here, a two-element Array is the result of a Function, which gets sent the "play" message. Each of the elements is an equivalent, three-element Array where each element is a UGen.
+ </div><div class="para">
+ This representation also offers another benefit: each UGen can have a different "mul" value, which will be preserved.
+<pre class="programlisting">
+{
+ [
+ [ SinOsc.ar(440, 0, 0.2), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.05 ) ],
+ [ SinOsc.ar(440, 0, 0.2), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.05 ) ]
+ ];
+}.play;
+</pre>
+ This sounds much less harsh than the first example. Try it with the Mix Class. Even with the different "mul" values, it sounds the same as the first example! This helps Mix to ensure that the total level doesn't exceed 1.0, but it has the disadvantage that careful level-balancing on your part will be erased.
</div></div><div class="section" title="11.4.9.3. Addition" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition">11.4.9.3. Addition</h4></div></div></div><div class="para">
This method of combinine UGen's into two channels uses the addition operator: +
</div><div class="para">
- [pre] { [ ( SinOsc.ar(440, 0, 0.1) + SinOsc.ar( 880, 0, 0.1 ) + SinOsc.ar( 1660, 0, 0.1 ) ), ( SinOsc.ar(440, 0, 0.1) + SinOsc.ar( 880, 0, 0.1 ) + SinOsc.ar( 1660, 0, 0.1 ) ) ]; }.play; [/pre] Notice that, like with the Mix Class, independent "mul" levels are not preserved.
+
+<pre class="programlisting">
+{
+ [
+ ( SinOsc.ar(440, 0, 0.1) + SinOsc.ar( 880, 0, 0.1 ) + SinOsc.ar( 1660, 0, 0.1 ) ),
+ ( SinOsc.ar(440, 0, 0.1) + SinOsc.ar( 880, 0, 0.1 ) + SinOsc.ar( 1660, 0, 0.1 ) )
+ ];
+}.play;
+</pre>
+ Notice that, like with the Mix Class, independent "mul" levels are not preserved.
</div></div></div><div class="section" title="11.4.10. SynthDef and Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</h3></div></div></div><div class="para">
- The preceding sections of this "Basic Programming" guide have only created sound with Function's. The truth is that Function's are very useful for creating sound, but they represent a simplification of the actual commands and Functions that must be run by the interpreter in order to create sound. [pre] // When you write this... ( { SinOsc.ar( freq:440, mul:0.2 ); }.play; ) // The interpreter actually does this... ( SynthDef.new( "temp__963", { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play; ) [/pre] Yikes! Don't despair - it's easy to understand - it just looks scary!
+ The preceding sections of this "Basic Programming" guide have only created sound with Function's. The truth is that Function's are very useful for creating sound, but they represent a simplification of the actual commands and Functions that must be run by the interpreter in order to create sound.
+<pre class="programlisting">
+// When you write this...
+(
+ { SinOsc.ar( freq:440, mul:0.2 ); }.play;
+)
+
+// The interpreter actually does this...
+(
+ SynthDef.new( "temp__963", { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play;
+)
+</pre>
+ Yikes! Don't despair - it's easy to understand - it just looks scary!
</div><div class="section" title="11.4.10.1. "Out" UGen" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen">11.4.10.1. "Out" UGen</h4></div></div></div><div class="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 - see <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.4.11. Busses">Section 11.4.11, “Bussesâ€</a>).
</div><div class="para">
- The following examples have the same effect: [pre] { SinOsc.ar( freq:500, mul:0.2 ); }.play; [/pre] and [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 <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.4.11. Busses">Section 11.4.11, “Bussesâ€</a>, but here is what you need to know for now, working with stereo (two-channel) audio:
+ The following examples have the same effect:
+<pre class="programlisting">{ SinOsc.ar( freq:500, mul:0.2 ); }.play;</pre>
+ and
+<pre class="programlisting">{ 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 <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.4.11. Busses">Section 11.4.11, “Bussesâ€</a>, but here is what you need to know for now, working with stereo (two-channel) audio:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
If the second argument is a two-element Array, use bus number 0.
</div></li><li class="listitem"><div class="para">
@@ -3895,7 +4851,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="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 <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.4.11. Busses">Section 11.4.11, “Bussesâ€</a>, 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.
</div></div><div class="section" title="11.4.10.2. SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef">11.4.10.2. SynthDef</h4></div></div></div><div class="para">
- A SynthDef is what we use to tell the server how to create sound. In order to truly understand what SynthDef accomplishes, we need to recall the disconnect between the interpreter and the server. In reality, the interpreter has no idea how to make sound or work with audio hardware. The server, likewise, has no understanding at all of the SuperCollider language. The interpreter takes the code that we write, and does one of a number of things, depending on the nature of the code:
+ A SynthDef is what we use to tell the server how to create sound. In order to truly understand what SynthDef accomplishes, we need to recall the disconnect between the interpreter and the server. In reality, the interpreter has no idea how to make sound or work with audio hardware. The server, likewise, has no understanding at all of the <span class="application"><strong>SuperCollider</strong></span> language. The interpreter takes the code that we write, and does one of a number of things, depending on the nature of the code:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
executes it completely,
</div></li><li class="listitem"><div class="para">
@@ -3911,15 +4867,52 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
A SynthDef is part of this last process; SynthDef Objects represent the synthesis information that is sent to the server before (or at the same time as) telling the server to play the sound.
</div><div class="para">
- There are two steps to creating a useful SynthDef: making an interpreter Object, and sending the actual synthesis information to the server. There are two ways to write this, as follows: [pre] someVariable = SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen ); someVariable.send( nameOfServer ); [/pre] and [pre] SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen ).send( nameOfServer ); [/pre] The <code class="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 class="code">nameOfSynthDef</code> should be a symbol (as described in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols" title="11.4.10.4. Symbols">Section 11.4.10.4, “Symbolsâ€</a>), but can also be a string. The <code class="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.
- </div><div class="para">
- Here is a demonstration of both methods: [pre] ( var playMe = { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); }; var playMeSynthDef = SynthDef.new( \playMe, playMe ); playMeSynthDef.send( s ); nil; ) [/pre] and [pre] ( var playMe = { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); }; SynthDef.new( \playMe, playMe ).send( s ); nil; ) [/pre] The only advantage to assigning something to a variable is the ability to refer to it later. If you use the first method, then you can send the SynthDef to more than one server. Since it's rare that you will want to use more than one server, it's usually better to use the second style. In fact, if you won't be using the "playMe" Function again, you don't need to assign it to a variable! [pre] SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s ); [/pre] This is all that's really needed to create and send a synthesis definition to the server. It looks long and frightening, but now at least you understand what a
ll of the parts do.
+ There are two steps to creating a useful SynthDef: making an interpreter Object, and sending the actual synthesis information to the server. There are two ways to write this, as follows:
+<pre class="programlisting">
+someVariable = SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen );
+someVariable.send( nameOfServer );
+</pre>
+ and
+<pre class="programlisting">SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen ).send( nameOfServer );</pre>
+ The <code class="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 class="code">nameOfSynthDef</code> should be a symbol (as described in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols" title="11.4.10.4. Symbols">Section 11.4.10.4, “Symbolsâ€</a>), but can also be a string. The <code class="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.
+ </div><div class="para">
+ Here is a demonstration of both methods:
+<pre class="programlisting">
+(
+ var playMe =
+ {
+ Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) );
+ };
+
+ var playMeSynthDef = SynthDef.new( \playMe, playMe );
+
+ playMeSynthDef.send( s );
+
+ nil;
+)
+</pre>
+ and
+<pre class="programlisting">
+(
+ var playMe =
+ {
+ Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) );
+ };
+
+ SynthDef.new( \playMe, playMe ).send( s );
+
+ nil;
+)
+</pre>
+ The only advantage to assigning something to a variable is the ability to refer to it later. If you use the first method, then you can send the SynthDef to more than one server. Since it's rare that you will want to use more than one server, it's usually better to use the second style. In fact, if you won't be using the "playMe" Function again, you don't need to assign it to a variable!
+<pre class="programlisting">SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s );</pre>
+ This is all that's really needed to create and send a synthesis definition to the server. It looks long and frightening, but now at least you understand what all of the parts do.
</div></div><div class="section" title="11.4.10.3. Load" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load">11.4.10.3. Load</h4></div></div></div><div class="para">
There is another way to send a SynthDef to the server: the "load" Function. The "send" Function sends the synthesis information to the server, which stores it in memory. When the server stops running, all synthesis information given with "send" is lost. The "load" Function, on the other hand, sends the synthesis information to the server, which stores it on disk and in memory. Every time the server is started, it loads all of the synthesis information previously sent to it with the "load" Function. The definition remains until you delete it specifically. This is most useful for a SynthDef that takes up a lot of memory, and which would use considerable network time to transfer to the server whenever the server is run. It is also useful to use the "load" Function instead of "send", when there are a lot of SynthDef's, regardless of the size of each one. The idea is the same: avoid sending the SynthDef in order to save time.
</div><div class="para">
The syntax and usage for "load" is the same as for "send".
</div></div><div class="section" title="11.4.10.4. Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols">11.4.10.4. Symbols</h4></div></div></div><div class="para">
- As stated in the section about variables, a symbol is simply something which represents something else. When used in the context of a SynthDef, a symbol is a string of characters that refers to a SynthDef that we've already sent to the server. What wasn't mentioned in the section about variables is that, in addition to the symbols that can be used as variable names, the SuperCollider language provides a distinct data-type (like numbers or strings) for symbols. Many programming languages don't provide a "symbol" data-type, so many programmers do not use them extensively, but they are very handy for situations like this. As local variable names are symbols representing data stored by the interpreter, here we are using the symbol data-type to refer to data stored on the server.
+ As stated in the section about variables, a symbol is simply something which represents something else. When used in the context of a SynthDef, a symbol is a string of characters that refers to a SynthDef that we've already sent to the server. What wasn't mentioned in the section about variables is that, in addition to the symbols that can be used as variable names, the <span class="application"><strong>SuperCollider</strong></span> language provides a distinct data-type (like numbers or strings) for symbols. Many programming languages don't provide a "symbol" data-type, so many programmers do not use them extensively, but they are very handy for situations like this. As local variable names are symbols representing data stored by the interpreter, here we are using the symbol data-type to refer to data stored on the server.
</div><div class="para">
Symbols are a better way to name SynthDef's than strings. Not only do symbols take up less memory, they aren't actually the interpreter doesn't actually think of them as Objects, and neither should you. Symbols are universally unique; only one instance of a symbol with the same characters can exist. On the other hand, an infinite number of strings with the same characters can exist. When we use a symbol, we are defining it universally. When we use a string, the server pretends that all strings with the same characters are the same philosophical object, even though they aren't. This isn't a technical problem, but it can be difficult to think about, and is cognitively dissonant.
</div><div class="para">
@@ -3929,51 +4922,206 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="11.4.10.4.2. Writing Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols">11.4.10.4.2. Writing Symbols</h5></div></div></div><div class="para">
There are two ways to write out a symbol: between single-quotation marks, and after a back-slash. Symbols given between single-quotation marks can contain any characters but a single-quotation mark. Symbols given after a back-slash can contain any characters but a space. Neither type of symbol name can cross onto a new line.
</div><div class="para">
- The following example contains some valid symbols, and some invalid symbols. [pre] \stopSign \\ this is a symbol \stop sign \\ this is a symbol called 'stop' followed by the unrelated word 'sign' 'stopSign' \\ this is a symbol 'stop sign' \\ this is a symbol 'stop sign' \\ these lines are not a symbol, and will cause an error [/pre]
- </div><div class="para">
- The following example illustrates the differences between strings and symbols. [pre] var a = "stop sign" \\ a string var b = "stop sign" \\ a string with the same letters as the first string a == b; \\ returns "true" because the strings are equivalent a === b; \\ returns "false" because the strings are separate copies with the same characters
+ The following example contains some valid symbols, and some invalid symbols.
+<pre class="programlisting">
+\stopSign \\ this is a symbol
+\stop sign \\ this is a symbol called 'stop' followed by the unrelated word 'sign'
+'stopSign' \\ this is a symbol
+'stop sign' \\ this is a symbol
+'stop
+sign' \\ these lines are not a symbol, and will cause an error
+</pre>
+
</div><div class="para">
- var c = 'stop sign' \\ a symbol var d = 'stop sign' \\ the same symbol c == d; \\ returns "true" because the symbols are equivalent c === d; \\ returns "true" because the symbols are identical [/pre]
+ The following example illustrates the differences between strings and symbols.
+<pre class="programlisting">
+var a = "stop sign" \\ a string
+var b = "stop sign" \\ a string with the same letters as the first string
+a == b; \\ returns "true" because the strings are equivalent
+a === b; \\ returns "false" because the strings are separate copies with the same characters
+
+var c = 'stop sign' \\ a symbol
+var d = 'stop sign' \\ the same symbol
+c == d; \\ returns "true" because the symbols are equivalent
+c === d; \\ returns "true" because the symbols are identical
+</pre>
+
</div></div></div><div class="section" title="11.4.10.5. SynthDef Becomes Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth">11.4.10.5. SynthDef Becomes Synth</h4></div></div></div><div class="para">
After you send a SynthDef to the server, you can put it into action. When the interpreter tells the server to play a synthesis definition (which the interpreter holds in a SynthDef Object), the server creates a synth from the definition, and starts generating sound. The interpreter gives us a Synth Object to represent each synth on the server, so that we can control the synth.
</div><div class="para">
- This is the syntax used to create a new synth, after its definition has been sent to the server. [pre] Synth.new( nameOfSynthDef ); [/pre] The name will be a symbol or a string - whatever you supplied when you ran the <code class="code">SynthDef.new()</code> Function.
+ This is the syntax used to create a new synth, after its definition has been sent to the server. <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.new</b>(</code><var class="pdparam">nameOfSynthDef</var><code>)</code>;</p></div> The name will be a symbol or a string - whatever you supplied when you ran the <code class="code">SynthDef.new()</code> Function.
</div><div class="para">
- Because we're creating a new Synth Object, we should assign it to a variable, for later reference. [pre] SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s ); var mySynth = Synth.new( \playMe ); [/pre]
+ Because we're creating a new Synth Object, we should assign it to a variable, for later reference.
+<pre class="programlisting">
+SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s );
+var mySynth = Synth.new( \playMe );
+</pre>
+
</div><div class="para">
- Recall that the interpreter automatically uses the Synth and SynthDef Classes when we send the "play" message to a Function. We can actually capture and use the Synth Object created from "play-ing" a Function, too. This example is almost the same as the previous one. [pre] var mySynth = { SinOsc.ar( freq:443, mul:0.2 ); }.play; [/pre] The difference is subtle: after the second example, we have no control over what name the interpreter gives to the SynthDef that it sends to the server, so we can't re-use the SynthDef. On the other hand, because we assign the name <code class="code">\sillyTutorialSD</code> to the SynthDef in the first example, we know what it's called, and we can re-use it. Theoretically, we can make an infinite number of synths from this single definition. Realistically, it's limited by the amount of memory the server can use; for most modern computers, this number is so high that we don't ever need to worry about it.
+ Recall that the interpreter automatically uses the Synth and SynthDef Classes when we send the "play" message to a Function. We can actually capture and use the Synth Object created from "play-ing" a Function, too. This example is almost the same as the previous one.
+<pre class="programlisting">var mySynth = { SinOsc.ar( freq:443, mul:0.2 ); }.play;</pre>
+ The difference is subtle: after the second example, we have no control over what name the interpreter gives to the SynthDef that it sends to the server, so we can't re-use the SynthDef. On the other hand, because we assign the name <code class="code">\sillyTutorialSD</code> to the SynthDef in the first example, we know what it's called, and we can re-use it. Theoretically, we can make an infinite number of synths from this single definition. Realistically, it's limited by the amount of memory the server can use; for most modern computers, this number is so high that we don't ever need to worry about it.
</div><div class="para">
- As usual, the interpreter provides us with an optional short-cut: [pre] var mySynth = SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play; [/pre] This automatically sends the synthesis information to the server, creates a synth, and plays it. What minor functionality is lost when we use this shortcut?
+ As usual, the interpreter provides us with an optional short-cut:
+<pre class="programlisting">var mySynth = SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play;</pre>
+ This automatically sends the synthesis information to the server, creates a synth, and plays it. What minor functionality is lost when we use this shortcut?
</div></div><div class="section" title="11.4.10.6. Shortcomings of a SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef">11.4.10.6. Shortcomings of a SynthDef</h4></div></div></div><div class="para">
- Consider the following program: [pre] ( var myRandFunc = { var frequency = 440.rand + 440; // produces an integer between 440 and 880 SinOsc.ar( freq:frequency, mul:0.025 ); }; 10.do( { myRandFunc.play; } ); ) [/pre] Execute the program a few times. The result will be different each time: ten different SinOsc's with ten different frequencies.
- </div><div class="para">
- What if we convert the program to use a SynthDef and multiple Synth's instead? This program will probably cause an error the first time - this is exaplained below. [pre] ( var myRandFunc = { var frequency = 440.rand + 440; // produces an integer between 440 and 880 Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); 10.do( { Synth.new( \myRandFunc ); } ); ) [/pre] Execute the program a few times. The result is still different each time, but it's the ''same'' ten SinOsc's, all with the same frequency. This is the nature of a SynthDef: once it's sent to the server, you can create a synth from the same instructions without re-sending them.
+ Consider the following program:
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ var frequency = 440.rand + 440; // produces an integer between 440 and 880
+ SinOsc.ar( freq:frequency, mul:0.025 );
+ };
+
+ 10.do( { myRandFunc.play; } );
+)
+</pre>
+ Execute the program a few times. The result will be different each time: ten different SinOsc's with ten different frequencies.
+ </div><div class="para">
+ What if we convert the program to use a SynthDef and multiple Synth's instead? This program will probably cause an error the first time - this is exaplained below.
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ var frequency = 440.rand + 440; // produces an integer between 440 and 880
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ 10.do( { Synth.new( \myRandFunc ); } );
+)
+</pre>
+ Execute the program a few times. The result is still different each time, but it's the ''same'' ten SinOsc's, all with the same frequency. This is the nature of a SynthDef: once it's sent to the server, you can create a synth from the same instructions without re-sending them.
</div><div class="para">
This program causes an error the first time you run it. Inspect the error messages, and see if you can determine why. It's because the server is processing commands ''asynchronously'': things don't happen right when the interpreter asks, but very shortly thereafter. The result is that the server is asked to make a new synth before it deals with the synth definition. There are ways to get around this, but they're too complex for this section - for now (to simplify this text's examples), just accept that the error may happen the first time you run a Synth.
</div></div><div class="section" title="11.4.10.7. Creating Change Anyway" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway">11.4.10.7. Creating Change Anyway</h4></div></div></div><div class="para">
The way to create change and pseudo-randomness anyway is to incorporate another UGen to do it for you. Remember: when you send synthesis information to the server, that information can't change unless you replace it. This doesn't mean that the output produced by the synth can't change!
</div><div class="para">
- The way to do this is with control-rate UGen's. The following example uses a control-rate SinOsc to set the frequency of an audio-rate SinOsc. [pre] ( var myRandFunc = { var frequency = SinOsc.kr( freq:0.5, add:660, mul:220 ); // oscillates between 440 and 880, hitting each extreme every 2 seconds Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.2 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); Synth.new( \myRandFunc ); ) [/pre] When you use a UGen as a control-rate UGen, you have to think about its arguments quite differently than when using it as an audio-rate UGen. This table shows how the same argument gives a different result for an audio-rate vs. control-rate UGen used for pitch: {| ! parameter !! audio-rate UGen !! control-rate UGen for pitch |- freq (frequency in Hertz) || controls pitch || controls the speed of oscillation |- add || ?? || re-sets the "zero" (middle) point of the sine wave by adding this to the output |- mul || controls volume level || sets
the deviation from the "zero" point |} For an audio-rate SinOsc UGen, you set the frequency and the volume level. For a control-rate UGen, you set the mid-point of oscillation with "add", the extremes of oscillation which will be <code class="code">add - mul</code> and <code class="code">add + mul</code>, and the speed of oscillation with "freq". The end result is very different numbers.
- </div><div class="para">
- There is a handy UGen designed specifically for replacing pseudo-randomness in Functions. The following example restores the "ten different pitches" to the example from the last section. [pre] ( var myRandFunc = { var frequency = Rand( 440, 880 ); // produces an integer between 440 and 880 Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); 10.do( { Synth.new( \myRandFunc ); } ); ) [/pre] If you run this multiple times, you will again hear ten different pitches. Depending on audio hardware, previous musical experience, and other factors, some people may have difficulty hearing that the pitches are different. Try reducing the number of synths created in the loop.
+ The way to do this is with control-rate UGen's. The following example uses a control-rate SinOsc to set the frequency of an audio-rate SinOsc.
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ var frequency = SinOsc.kr( freq:0.5, add:660, mul:220 ); // oscillates between 440 and 880, hitting each extreme every 2 seconds
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.2 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ Synth.new( \myRandFunc );
+)
+</pre>
+ When you use a UGen as a control-rate UGen, you have to think about its arguments quite differently than when using it as an audio-rate UGen. This table shows how the same argument gives a different result for an audio-rate vs. control-rate UGen used for pitch: {| ! parameter !! audio-rate UGen !! control-rate UGen for pitch |- freq (frequency in Hertz) || controls pitch || controls the speed of oscillation |- add || ?? || re-sets the "zero" (middle) point of the sine wave by adding this to the output |- mul || controls volume level || sets the deviation from the "zero" point |} For an audio-rate SinOsc UGen, you set the frequency and the volume level. For a control-rate UGen, you set the mid-point of oscillation with "add", the extremes of oscillation which will be <code class="code">add - mul</code> and <code class="code">add + mul</code>, and the speed of oscillation with "freq". The end result is very different numbers.
+ </div><div class="para">
+ There is a handy UGen designed specifically for replacing pseudo-randomness in Functions. The following example restores the "ten different pitches" to the example from the last section.
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ var frequency = Rand( 440, 880 ); // produces an integer between 440 and 880
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ 10.do( { Synth.new( \myRandFunc ); } );
+)
+</pre>
+ If you run this multiple times, you will again hear ten different pitches. Depending on audio hardware, previous musical experience, and other factors, some people may have difficulty hearing that the pitches are different. Try reducing the number of synths created in the loop.
</div></div><div class="section" title="11.4.10.8. SynthDef with Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments">11.4.10.8. SynthDef with Arguments</h4></div></div></div><div class="para">
There are some siutations where you simply cannot pre-determine all of the material that you're going to use when creating a synth. It might be easier to resort to using a Function rather than a SynthDef, but there is yet another solution - creating an argument in your SynthDef Function.
</div><div class="para">
- With only a subtle change to our Function, we can add the possibility of passing arguments on synth creation: [pre] var myRandFunc = { arg frequency = Rand( 440, 880 ); // default value between 440 and 880 Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; [/pre] I've decided to use the Rand UGen anyway, so that supplying a frequency is optional. This adds functionality while making the added complexity optional: [pre] ( var myRandFunc = { arg frequency = 440; Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); 10.do( { Synth.new( \myRandFunc ); } ); ) [/pre] If you use the SynthDef in the old way, as in the example, you'll get the expected result: ten Synth's, all with the same frequency. But, if you add a "rand" Function call into the loop, you can get ten different frequencies! [pre] ( var myRandFunc = { arg frequency = 440; Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, my
RandFunc ).send( s ); 10.do( { Synth.new( \myRandFunc, [\frequency,(440.rand + 440)] ); } ); ) [/pre] Notice how we supply arguments: an Array with elements alternating between a string-quoted parameter name, and the value of the argument itself. If we "parameterized" all three main fields of the SinOsc, we could supply them like this: [pre] Synth.new( \mySinOsc, [\freq,440,\add,0,\mul,0.2] ); [/pre]
+ With only a subtle change to our Function, we can add the possibility of passing arguments on synth creation:
+<pre class="programlisting">
+var myRandFunc =
+{
+ arg frequency = Rand( 440, 880 ); // default value between 440 and 880
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+};
+</pre>
+ I've decided to use the Rand UGen anyway, so that supplying a frequency is optional. This adds functionality while making the added complexity optional:
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ arg frequency = 440;
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ 10.do( { Synth.new( \myRandFunc ); } );
+)
+</pre>
+ If you use the SynthDef in the old way, as in the example, you'll get the expected result: ten Synth's, all with the same frequency. But, if you add a "rand" Function call into the loop, you can get ten different frequencies!
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ arg frequency = 440;
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ 10.do( { Synth.new( \myRandFunc, [\frequency,(440.rand + 440)] ); } );
+)
+</pre>
+ Notice how we supply arguments: an Array with elements alternating between a string-quoted parameter name, and the value of the argument itself. If we "parameterized" all three main fields of the SinOsc, we could supply them like this:
+<pre class="programlisting">Synth.new( \mySinOsc, [\freq,440,\add,0,\mul,0.2] );</pre>
+
</div></div><div class="section" title="11.4.10.9. Things to Do with a SynthDef: Set and Free" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free">11.4.10.9. Things to Do with a SynthDef: Set and Free</h4></div></div></div><div class="para">
Once you send a synth definition to the server, and make some synths, you've collected a few Synth Objects, and you wonder what to do with them next. Of course, you could listen to them, but you can also change the arguments that you used, and stop it.
</div><div class="para">
- To change the arguments used by a synth, send it the "set" message, with a list of arguments: [pre] variableHoldingSynth.set( [\argument1,value,\argument2,value,...] ); [/pre] This helps to save even more time and memory: rather than destroying and creating synths all the time, you can simply change pre-existing ones.
+ To change the arguments used by a synth, send it the "set" message, with a list of arguments:
+<pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.set( [<em class="replaceable"><code>\argument1</code></em>,<em class="replaceable"><code>value</code></em>,<em class="replaceable"><code>\argument2</code></em>,<em class="replaceable"><code>value</code></em>,...] );</pre>
+ This helps to save even more time and memory: rather than destroying and creating synths all the time, you can simply change pre-existing ones.
</div><div class="para">
- This modification of the ten-pseudo-random-tones example includes an extra line that lets you change the tones without destroying and re-creating the synths. [pre] // run this first h = List.new; // run this second ( var myRandFunc = { arg frequency = 440; Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); ) // run this third 10.do( { h.add( Synth.new( \myRandFunc, [\frequency,(440.rand + 440)] ) ); } ); // run this fourth, as many times as you please h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } ); [/pre] The reason that you have to run each of those segments separately is two-fold: we need to store the List of Synth's in a single-letter variable because, for this simple demonstration, this is the most efficient way; second, for the asynchronous behaviour of the server that was previously noted as causing an error.
+ This modification of the ten-pseudo-random-tones example includes an extra line that lets you change the tones without destroying and re-creating the synths.
+<pre class="programlisting">
+// run this first
+h = List.new;
+
+// run this second
+(
+ var myRandFunc =
+ {
+ arg frequency = 440;
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+)
+
+// run this third
+10.do( { h.add( Synth.new( \myRandFunc, [\frequency,(440.rand + 440)] ) ); } );
+
+// run this fourth, as many times as you please
+h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
+</pre>
+ The reason that you have to run each of those segments separately is two-fold: we need to store the List of Synth's in a single-letter variable because, for this simple demonstration, this is the most efficient way; second, for the asynchronous behaviour of the server that was previously noted as causing an error.
</div><div class="para">
The only aspect of that example that's a little tricky to understand is the "do" loop. Remember that when you run a "do" loop on a List, the interpreter automatically loops over each of the elements in the List, running the Function that you provide. Each time the Function is run, it receives the current List item, and its index number in the List, in that order. So the Function in this loop simply uses "set" to change the "frequency" argument.
</div><div class="para">
- Take special note that the arguments in this case are not identical to those given with the "new" message. Compare the two forms below: [pre] SynthDef.new( \SynthName, [\parameter1,value,\parameter2,value] ); [/pre] and [pre] existingSynth.set( \parameter1, value, \parmeter2, value ); [/pre]
+ Take special note that the arguments in this case are not identical to those given with the "new" message. Compare the two forms below:
+<pre class="programlisting">SynthDef.new( <em class="replaceable"><code>\SynthName</code></em>, [<em class="replaceable"><code>\parameter1</code></em>,<em class="replaceable"><code>value</code></em>,<em class="replaceable"><code>\parameter2</code></em>,<em class="replaceable"><code>value</code></em>] );</pre>
+ and
+<pre class="programlisting"><em class="replaceable"><code>existingSynth</code></em>.set( <em class="replaceable"><code>\parameter1</code></em>, <em class="replaceable"><code>value</code></em>, <em class="replaceable"><code>\parmeter2</code></em>, <em class="replaceable"><code>value</code></em> );</pre>
+
</div><div class="para">
- To get rid of one synth without stopping all sound, send its corresponding Synth the "free" message: [pre] variableHoldingSynth.free; [/pre] This stops the synth and frees the associated memory - on the server. Your Synth Object still exists in the interpreter, but you can't use it any more. A Synth Object represents a synth on the server; since you got rid of the synth on the server, the Synth Object represents something that doesn't exist. If you attempt to send the "free" message again, you'll get an error. For this reason, it's a good idea to get rid of the Synth Object at the same time: [pre] variableHoldingSynth.free; variableHoldingSynth = nil; [/pre] If you accidentally send "free" to an already-freed Synth, the interpreter will cause an error, and program execution will stop. If you accidentally send "free" to a variable set to "nil", nothing will happen. Proactively avoiding mistakes like this is good programming practice.
+ To get rid of one synth without stopping all sound, send its corresponding Synth the "free" message:
+<pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.free;</pre>
+ This stops the synth and frees the associated memory - on the server. Your Synth Object still exists in the interpreter, but you can't use it any more. A Synth Object represents a synth on the server; since you got rid of the synth on the server, the Synth Object represents something that doesn't exist. If you attempt to send the "free" message again, you'll get an error. For this reason, it's a good idea to get rid of the Synth Object at the same time:
+<pre class="programlisting">
+<replaceable>variableHoldingSynth</replaceable>.free;
+<replaceable>variableHoldingSynth</replaceable> = nil;
+</pre>
+ If you accidentally send "free" to an already-freed Synth, the interpreter will cause an error, and program execution will stop. If you accidentally send "free" to a variable set to "nil", nothing will happen. Proactively avoiding mistakes like this is good programming practice.
</div></div></div><div class="section" title="11.4.11. Busses" id="sect-Musicians_Guide-SC-Basic_Programming-Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</h3></div></div></div><div class="para">
- SuperCollider busses work just like busses in other audio creation contexts, which work similarly to busses used to transport humans. Busses are used to send audio from one place to another, and in SuperCollider they can also be used to send control-rate signals. Each SuperCollider bus is given an index number, which are integers starting at 0. Audio-rate busses and control-rate busses are independent, and are given an independent set of index numbers. Any number of unique signals can be routed into a bus, and any number of receivers can take signals from a bus - but the signal will be the sum of all the input signals. In other words, if you want to send two different sets of signals, you need two different busses with different index numbers.
+ <span class="application"><strong>SuperCollider</strong></span> busses work just like busses in other audio creation contexts, which work similarly to busses used to transport humans. Busses are used to send audio from one place to another, and in <span class="application"><strong>SuperCollider</strong></span> they can also be used to send control-rate signals. Each <span class="application"><strong>SuperCollider</strong></span> bus is given an index number, which are integers starting at 0. Audio-rate busses and control-rate busses are independent, and are given an independent set of index numbers. Any number of unique signals can be routed into a bus, and any number of receivers can take signals from a bus - but the signal will be the sum of all the input signals. In other words, if you want to send two different sets of signals, you need two different busses with different index numbers.
</div><div class="section" title="11.4.11.1. Audio-Rate Bus Numbers" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers">11.4.11.1. Audio-Rate Bus Numbers</h4></div></div></div><div class="para">
There are special audio-rate busses reserved automatically by the server. These interact with the audio interface, allowing you to get sound from its inputs, and send sound to its outputs. The lowest audio-rate bus numbers are reserved for audio interface outputs, each channel receiving an independent bus. The bus numbers just above those are reserved for audio interface inputs, each channel receiving an independent bus.
</div><div class="para">
@@ -3993,9 +5141,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="11.4.11.2. Out and In UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens">11.4.11.2. Out and In UGens</h4></div></div></div><div class="para">
The "Out" UGen is discussed in <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen" title="11.4.10.1. "Out" UGen">Section 11.4.10.1, “"Out" UGenâ€</a>. 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.
</div><div class="para">
- This is the syntax to use for "Out": [pre] Out.ar( busNumber, audioRateUGen ); [/pre] or [pre] Out.kr( busNumber, controlRateUGen ); [/pre] The UGen enclosed here should not be enclosed in a Function. If the UGen provides multi-channel output, "Out" will automatically route the lowest channel to the specified bus number, the next channel to the next highest bus number, and so on. This way, you can achieve stereo output with one "Out" UGen.
+ This is the syntax to use for the <code class="classname">Out</code> UGen: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Out.ar</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">audioRateUGen</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Out.kr</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">controlRateUGen</var><code>)</code>;</p></div> The UGen enclosed here should not be enclosed in a Function. If the UGen provides multi-channel output, "Out" will automatically route the lowest channel to the specified bus number, the next channel to the next highest bus number, and so on. This way, you can achieve stereo output with one "Out" UGen.
</div><div class="para">
- This is the syntax to use for "In": [pre] In.ar( busNumber, numberOfChannels ); [/pre] or [pre] In.kr( busNumber, numberOfChannels ); [/pre] Whereas "Out" automatically outputs the right number of channels based on how many you provide, "In" requires that you specify how many channels you want it to fetch for you.
+ This is the syntax to use for the <code class="classname">In</code> UGen: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">In.ar</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">In.kr</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> Whereas "Out" automatically outputs the right number of channels based on how many you provide, "In" requires that you specify how many channels you want it to fetch for you.
</div><div class="para">
When created with this form, both of these UGens automatically connect to the default server, stored in the single-letter "s" variable by the interpreter.
</div></div><div class="section" title="11.4.11.3. Bus Objects" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects">11.4.11.3. Bus Objects</h4></div></div></div><div class="para">
@@ -4003,15 +5151,58 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
The primary advantage of using Bus Objects is that you don't have to keep track of bus numbers, whether they're being used, and how mnany channels are being routed. For simple input and output of audio-rate signals, you're better off simply remembering the bus numbers
</div><div class="para">
- The "new" message creates a new Bus. Here is the syntax: [pre] var myBusVariable = Bus.audio( serverName, numberOfChannels ); [/pre] or [pre] var myBusVariable = Bus.control( serverName, numberOfChannels ); [/pre] The interpreter takes "numberOfChannels" busses on the "serverName" server, and groups them together for multi-channel use in one Bus Object, which it returns to you. The "numberOfChannels" argument is optional; if you leave it out, the Bus Object will have only one bus, for single-channel signals.
+ The <code class="literal">new</code> message creates a new Bus object. This is the syntax: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Bus.audio</b>(</code><var class="pdparam">serverName</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Bus.control</b>(</code><var class="pdparam">serverName</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> The interpreter takes "numberOfChannels" busses on the "serverName" server, and groups them together for multi-channel use in one Bus Object, which it returns to you. The "numberOfChannels" argument is optional; if you leave it out, the Bus Object will have only one bus, for single-channel signals. You should always assign the object to a variable, or else you have no way to use the bus later:
+<pre class="programlisting">var myBus = Bus.audio( s, 2 );</pre>
+
</div><div class="para">
The interpreter also keeps track of which bus numbers are used for which Bus Objects, so the signals will never get confused. Of course, you can still route signals through those bus numbers without using the Bus Object, but the Bus Class helps us to keep things straight.
</div><div class="para">
The following messages can also be used with Bus Objects: {| ! Message !! Example !! Purpose |- | index || b.index; || Returns the lowest bus number used by this Bus |- | numChannels || b.numChannels; || Returns the number of busses used by this Bus |- | rate || b.rate; || Returns "audio" or "control," depending on whether the Bus is audio-rate or control-rate. |- | server || b.server; || Returns the name of the server that the Bus represents. The default server is "localhost". |}
</div><div class="para">
- When you are done with a Bus, you can release the channels for use by other Bus Objects: [pre] myBusVariable.free; myBusVariable = nil; [/pre] Like when sending the "free" message to a Synth Object, you should set the variable name of a "free'd" Bus to "nil". This will prevent you from accidentally sending audio there after the Bus is released.
+ When you are done with a Bus, you can release the channels for use by other Bus Objects:
+<pre class="programlisting">
+<replaceable>myBusVariable</replaceable>.free;
+<replaceable>myBusVariable</replaceable> = nil;
+</pre>
+ Like when sending the "free" message to a Synth Object, you should set the variable name of a "free'd" Bus to "nil". This will prevent you from accidentally sending audio there after the Bus is released.
</div></div><div class="section" title="11.4.11.4. Using Busses: Control-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example">11.4.11.4. Using Busses: Control-Rate Example</h4></div></div></div><div class="para">
- The best way to understand how and when to use a bus is to see them in action. [pre] ( // execute first: prepare the server var busAudioSynth = { arg bus, freqOffset = 0; Out.ar( 0, SinOsc.ar( freq:( In.kr(bus) + freqOffset ), mul:0.1 ) ); }; var busControlSynth = { arg bus, freq = 400; Out.kr( bus, SinOsc.kr( freq:1, mul:( freq/40 ), add:freq ) ); }; SynthDef( \tutorialAudioBus, busAudioSynth ).send( s ); SynthDef( \tutorialControlBus, busControlSynth ).send( s ); b = Bus.control( s ); ) ( // execute second: create synths x = Synth.new( \tutorialControlBus, [\bus, b] ); // control synth y = Synth.after( x, \tutorialAudioBus, [\bus, b] ); // low audio synth z = Synth.after( x, \tutorialAudioBus, [\bus, b, \freqOffset, 200] ); // high audio synth ) ( // commands to free each Object x.free; x = nil; // control synth y.free; y = nil; // low audio synth z.free; z = nil; // high audio synth b.free; b = nil; // control bus ) [/pre] This example contains three stages: prepare t
he server, create the synths, destroy the synths. These three stages will become familiar as you program in SuperCollider, whether or not you use busses frequently. The example is fairly complicated, so the code is explained here:
+ The best way to understand how and when to use a bus is to see them in action.
+<pre class="programlisting">
+( // execute first: prepare the server
+ var busAudioSynth =
+ {
+ arg bus, freqOffset = 0;
+
+ Out.ar( 0, SinOsc.ar( freq:( In.kr(bus) + freqOffset ), mul:0.1 ) );
+ };
+
+ var busControlSynth =
+ {
+ arg bus, freq = 400;
+
+ Out.kr( bus, SinOsc.kr( freq:1, mul:( freq/40 ), add:freq ) );
+ };
+
+ SynthDef( \tutorialAudioBus, busAudioSynth ).send( s );
+ SynthDef( \tutorialControlBus, busControlSynth ).send( s );
+
+ b = Bus.control( s );
+)
+
+( // execute second: create synths
+ x = Synth.new( \tutorialControlBus, [\bus, b] ); // control synth
+ y = Synth.after( x, \tutorialAudioBus, [\bus, b] ); // low audio synth
+ z = Synth.after( x, \tutorialAudioBus, [\bus, b, \freqOffset, 200] ); // high audio synth
+)
+
+( // commands to free each Object
+ x.free; x = nil; // control synth
+ y.free; y = nil; // low audio synth
+ z.free; z = nil; // high audio synth
+ b.free; b = nil; // control bus
+)
+</pre>
+ This example contains three stages: prepare the server, create the synths, destroy the synths. These three stages will become familiar as you program in <span class="application"><strong>SuperCollider</strong></span>, whether or not you use busses frequently. The example is fairly complicated, so the code is explained here:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
"busAudioSynth" Function: Accepts two arguments, and creates an audio-rate <code class="code">SinOsc</code>, routed to the left output channel. The frequency is determined by a control-rate bus given as an argument, and optionally with an offset that can be supplied as an argument.
</div></li><li class="listitem"><div class="para">
@@ -4045,13 +5236,109 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
Some of these advantages could be seen as disadvantages. Whether you should use a Bus or a UGen depends on the particular application. The simpler solution is usually the better one, as long as you remember to avoid repetition!
</div></div><div class="section" title="11.4.11.4.3. Special Note about Control-Rate Busses" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note">11.4.11.4.3. Special Note about Control-Rate Busses</h5></div></div></div><div class="para">
- Control-rate Bus'ses are a great way to enhance the flexibility of your program. The best part is that, in order to use a control-rate Bus, the UGen doesn't even need to have been written to accomodate it. [pre] { SinOsc.ar( freq:In.kr( controlRateBus, 1 ), mul:0.2 ); }.play; [/pre] Now you've managed to spice up an otherwise-boring synth!
+ Control-rate Bus'ses are a great way to enhance the flexibility of your program. The best part is that, in order to use a control-rate Bus, the UGen doesn't even need to have been written to accomodate it.
+<pre class="programlisting">{ SinOsc.ar( freq:In.kr( controlRateBus, 1 ), mul:0.2 ); }.play;</pre>
+ Now you've managed to spice up an otherwise-boring synth!
</div><div class="para">
- Also, control-rate Bus'ses don't need to be constantly changing. Unlike an audio-rate Bus, a control-rate Bus will hold the last-inputted value until another value is provided. You can the value of a control-rate Bus with the "set" message (and a single argument, which is the value). You can also get the current value, whether created by "set" or a UGen, by using the "get" message, and sending a Function with one argument. [pre] ( var bus = Bus.control( s ); bus.set( 12 ); bus.get( { arg val; val.postln; } ); bus.free; bus = nil; ) [/pre] When running this example, you'll notice that the "12" doesn't get posted until ''after'' the program finishes with "nil". This is because of the '''latency''' between when the interpreter asks the server to do something, and when the server does it. The amount of time it takes for the server to complete a command is usually very small, but as you can see, it can make an important difference to your program. This latency is also the re
ason that you can't call "SynthDef.new( ... )" and "Synth.new( ... )" at the exact same time.
+ Also, control-rate Bus'ses don't need to be constantly changing. Unlike an audio-rate Bus, a control-rate Bus will hold the last-inputted value until another value is provided. You can the value of a control-rate Bus with the "set" message (and a single argument, which is the value). You can also get the current value, whether created by "set" or a UGen, by using the "get" message, and sending a Function with one argument.
+<pre class="programlisting">
+(
+ var bus = Bus.control( s );
+ bus.set( 12 );
+ bus.get( { arg val; val.postln; } );
+ bus.free; bus = nil;
+)
+</pre>
+ When running this example, you'll notice that the "12" doesn't get posted until ''after'' the program finishes with "nil". This is because of the '''latency''' between when the interpreter asks the server to do something, and when the server does it. The amount of time it takes for the server to complete a command is usually very small, but as you can see, it can make an important difference to your program. This latency is also the reason that you can't call "SynthDef.new( ... )" and "Synth.new( ... )" at the exact same time.
</div><div class="para">
This latency is also the reason that we have to provide a single-argument Function as an argument to the "get" Function. Since the Function won't immediately be able to get the value of the bus from the server, we can't expect the value to be returned by the Function. Instead, when "get" gets the value of the bus from the server, it runs the Function that you gave it.
</div></div></div><div class="section" title="11.4.11.5. Using Busses: Audio-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example">11.4.11.5. Using Busses: Audio-Rate Example</h4></div></div></div><div class="para">
- [pre] ( var tutorialDecayPink = { arg outBus = 0, effectBus, direct = 0.5; // controls proportion of "direct" / "processed" sound var source; // Decaying pulses of PinkNoise. source = Decay2.ar( in:Impulse.ar( freq:1, phase:0.25 ), attackTime:0.01, decayTime:0.2, mul:PinkNoise.ar ); Out.ar( outBus, (source*direct) ); // main output Out.ar( effectBus, (source*(1-direct)) ); // effects output }; var tutorialDecaySine = { arg outBus = 0, effectBus, direct = 0.5; // controls proportion of "direct" / "processed" sound var source; // Decaying pulses of a modulating Sine wave. source = Decay2.ar( in:Impulse.ar( freq:0.3, phase: 0.25), attackTime:0.3, decayTime:1, mul:SinOsc.ar( freq:SinOsc.kr( freq:0.2, mul:110, add:440) ) ); Out.ar(outBus, (source*direct) ); // main output Out.ar(effectBus, (source*(1-direct)) ); // effects output }; var tutorialReverb = { arg outBus = 0, inBus; // default outBus is audio interface var input; input = In.ar( inBus, 1 ); 16.do( { input = Allpass
C.ar( in:input, maxdelaytime:0.04, delaytime:{ Rand(0.001,0.04) }.dup, decaytime:3 ) } ); Out.ar( outBus, input ); }; // send synthesis information to the server SynthDef( \tutorialReverb, tutorialReverb ).send( s ); SynthDef( \tutorialDecayPink, tutorialDecayPink ).send( s ); SynthDef( \tutorialDecaySine, tutorialDecaySine ).send( s ); // reserve an effects Bus b = Bus.audio( s ); ) ( x = Synth.new( \tutorialReverb, [\inBus, b] ); y = Synth.before( x, \tutorialDecayPink, [\effectBus, b] ); z = Synth.before( x, \tutorialDecaySine, [\effectBus, b, \outBus, 1] ); ) // Change the balance of "wet" to "dry" y.set( \direct, 1 ); // only direct PinkNoise z.set( \direct, 1 ); // only direct Sine wave y.set( \direct, 0 ); // only reverberated PinkNoise z.set( \direct, 0 ); // only reverberated Sine wave y.set( \direct, 0.5 ); // original PinkNoise z.set( \direct, 0.5 ); // original Sine wave ( // commands to free each Object x.free; x = nil; y.free; y = nil; z.free; z = nil; b.free;
b = nil; ) [/pre]
+
+<pre class="programlisting">
+(
+ var tutorialDecayPink =
+ {
+ arg outBus = 0, effectBus,
+ direct = 0.5; // controls proportion of "direct" / "processed" sound
+ var source;
+
+ // Decaying pulses of PinkNoise.
+ source = Decay2.ar( in:Impulse.ar( freq:1, phase:0.25 ),
+ attackTime:0.01,
+ decayTime:0.2,
+ mul:PinkNoise.ar
+ );
+
+ Out.ar( outBus, (source*direct) ); // main output
+ Out.ar( effectBus, (source*(1-direct)) ); // effects output
+ };
+
+ var tutorialDecaySine =
+ {
+ arg outBus = 0, effectBus,
+ direct = 0.5; // controls proportion of "direct" / "processed" sound
+ var source;
+
+ // Decaying pulses of a modulating Sine wave.
+ source = Decay2.ar( in:Impulse.ar( freq:0.3, phase: 0.25),
+ attackTime:0.3,
+ decayTime:1,
+ mul:SinOsc.ar( freq:SinOsc.kr( freq:0.2, mul:110, add:440) )
+ );
+
+ Out.ar(outBus, (source*direct) ); // main output
+ Out.ar(effectBus, (source*(1-direct)) ); // effects output
+ };
+
+ var tutorialReverb =
+ {
+ arg outBus = 0, inBus; // default outBus is audio interface
+ var input;
+
+ input = In.ar( inBus, 1 );
+
+ 16.do( { input = AllpassC.ar( in:input,
+ maxdelaytime:0.04,
+ delaytime:{ Rand(0.001,0.04) }.dup,
+ decaytime:3
+ )
+ }
+ );
+
+ Out.ar( outBus, input );
+ };
+
+ // send synthesis information to the server
+ SynthDef( \tutorialReverb, tutorialReverb ).send( s );
+ SynthDef( \tutorialDecayPink, tutorialDecayPink ).send( s );
+ SynthDef( \tutorialDecaySine, tutorialDecaySine ).send( s );
+
+ // reserve an effects Bus
+ b = Bus.audio( s );
+)
+
+(
+ x = Synth.new( \tutorialReverb, [\inBus, b] );
+ y = Synth.before( x, \tutorialDecayPink, [\effectBus, b] );
+ z = Synth.before( x, \tutorialDecaySine, [\effectBus, b, \outBus, 1] );
+)
+
+// Change the balance of "wet" to "dry"
+y.set( \direct, 1 ); // only direct PinkNoise
+z.set( \direct, 1 ); // only direct Sine wave
+y.set( \direct, 0 ); // only reverberated PinkNoise
+z.set( \direct, 0 ); // only reverberated Sine wave
+y.set( \direct, 0.5 ); // original PinkNoise
+z.set( \direct, 0.5 ); // original Sine wave
+
+( // commands to free each Object
+ x.free; x = nil;
+ y.free; y = nil;
+ z.free; z = nil;
+ b.free; b = nil;
+)
+</pre>
+
</div><div class="para">
I'm not going to explain this example as extensively as the previous one. It's definitely the most complex example so far. It's better if you figure out what the parts do by playing with them yourself. The bus works by routing audio from the <code class="code">\tutorialDecayPink</code> and <code class="code">\tutorialDecaySine</code> synths into the <code class="code">\tutorialReverb</code> synth. The first two synths can be controlled to put all, none, or some of their signal into the bus (so that it goes through the <code class="code">\tutorialReverb</code> synth), or straight out the audio interface (bypassing the <code class="code">\tutorialReverb</code> synth). Notice that the ''same'' effects processor is operating on two different input sources.
</div></div></div><div class="section" title="11.4.12. Ordering and Other Synth Features" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features">11.4.12. Ordering and Other Synth Features</h3></div></div></div><div class="para">
@@ -4059,27 +5346,71 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="section" title="11.4.12.1. Ordering" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering">11.4.12.1. Ordering</h4></div></div></div><div class="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 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. For more information on samples, sample rate, and sample format, see <a class="xref" href="#sect-Musicians_Guide-Sample_Rate_and_Sample_Format" title="1.3. Sample, Sample Rate, Sample Format, and Bit Rate">Section 1.3, “Sample, Sample Rate, Sample Format, and Bit Rateâ€</a>.
</div><div class="para">
- Consider the following example: [pre] { SinOsc.ar( freq:SinOsc.kr( freq:1, add:500, mul:10 ), mul:0.2 ); }.play; [/pre] What happens if the server calculates the audio-rate UGen first? It wouldn't have a frequency. This is another one of those things which the interpreter takes care of automatically when we run Function rather than create a Synth. Since it's often preferable to use a synth instead of a Function, we need some way to control the order of execution. The interpreter and the server are only so good at guessing what we need, after all.
+ Consider the following example:
+<pre class="programlisting">{ SinOsc.ar( freq:SinOsc.kr( freq:1, add:500, mul:10 ), mul:0.2 ); }.play;</pre>
+ What happens if the server calculates the audio-rate UGen first? It wouldn't have a frequency. This is another one of those things which the interpreter takes care of automatically when we run Function rather than create a Synth. Since it's often preferable to use a synth instead of a Function, we need some way to control the order of execution. The interpreter and the server are only so good at guessing what we need, after all.
</div><div class="para">
- There are two methods in the Synth Class that we can use to inform the server about our desired order of execution: "before" and "after". They represent a small extension to the "new" method, and they work like this: [pre] Synth.before( variableHoldingSynth, nameOfSynthDef, ListOfArguments ); [/pre] and [pre] Synth.after( variableHoldingSynth, nameOfSynthDef, ListOfArguments ); [/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 <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example" title="11.4.11.4. Using Busses: Control-Rate Example">Section 11.4.11.4, “Using Busses: Control-Rate Exampleâ€</a>, uses the "after" Function to ensure that the control-rate synth is calculated before the audio-rate syn
ths that depend on it. [pre] ( // execute first: prepare the server var busAudioSynth = { arg bus, freqOffset = 0; Out.ar( 0, SinOsc.ar( freq:( In.kr(bus) + freqOffset ), mul:0.1 ) ); }; var busControlSynth = { arg bus, freq = 400; Out.kr( bus, SinOsc.kr( freq:1, mul:( freq/40 ), add:freq ) ); }; SynthDef( \tutorialAudioBus, busAudioSynth ).send( s ); SynthDef( \tutorialControlBus, busControlSynth ).send( s ); b = Bus.control( s ); ) ( // execute second: create synths x = Synth.new( \tutorialControlBus, [\bus, b] ); // control synth y = Synth.after( x, \tutorialAudioBus, [\bus, b] ); // low audio synth z = Synth.after( x, \tutorialAudioBus, [\bus, b, \freqOffset, 200] ); // high audio synth ) ( // commands to free each Object x.free; x = nil; // control synth y.free; y = nil; // low audio synth z.free; z = nil; // high audio synth b.free; b = nil; // control bus ) [/pre] 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.
+ There are two methods in the <code class="classname">Synth</code> Class that we can use to inform the server about our desired order of execution: "before" and "after". They represent a small extension to the "new" method, and they work like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.before</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.after</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> 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" j
ust as in the "add" method. This example, from <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example" title="11.4.11.4. Using Busses: Control-Rate Example">Section 11.4.11.4, “Using Busses: Control-Rate Exampleâ€</a>, uses the "after" Function to ensure that the control-rate synth is calculated before the audio-rate synths that depend on it.
+<pre class="programlisting">
+( // execute first: prepare the server
+ var busAudioSynth =
+ {
+ arg bus, freqOffset = 0;
+
+ Out.ar( 0, SinOsc.ar( freq:( In.kr(bus) + freqOffset ), mul:0.1 ) );
+ };
+
+ var busControlSynth =
+ {
+ arg bus, freq = 400;
+
+ Out.kr( bus, SinOsc.kr( freq:1, mul:( freq/40 ), add:freq ) );
+ };
+
+ SynthDef( \tutorialAudioBus, busAudioSynth ).send( s );
+ SynthDef( \tutorialControlBus, busControlSynth ).send( s );
+
+ b = Bus.control( s );
+)
+
+( // execute second: create synths
+ x = Synth.new( \tutorialControlBus, [\bus, b] ); // control synth
+ y = Synth.after( x, \tutorialAudioBus, [\bus, b] ); // low audio synth
+ z = Synth.after( x, \tutorialAudioBus, [\bus, b, \freqOffset, 200] ); // high audio synth
+)
+
+( // commands to free each Object
+ x.free; x = nil; // control synth
+ y.free; y = nil; // low audio synth
+ z.free; z = nil; // high audio synth
+ b.free; b = nil; // control bus
+)
+</pre>
+ 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.
</div><div class="para">
The other example from <a class="xref" href="#sect-Musicians_Guide-SC-Basic_Programming-Busses" title="11.4.11. Busses">Section 11.4.11, “Bussesâ€</a> use 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.
</div></div><div class="section" title="11.4.12.2. Changing the Order" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order">11.4.12.2. Changing the Order</h4></div></div></div><div class="para">
- SuperCollider offers equally easy-to-use methods to change the order of execution.
+ <span class="application"><strong>SuperCollider</strong></span> offers equally easy-to-use methods to change the order of execution.
</div><div class="para">
- To move a synth's execution after another: [pre] variableHoldingSynth.moveAfter( variableHoldingAnotherSynth ); [/pre]
+ To move a synth's execution after another: <div class="funcsynopsis"><p><code class="funcdef">variableHoldingSynth<b class="fsfunc">moveAfter</b>(</code><var class="pdparam">variableHoldingAnotherSynth</var><code>)</code>;</p></div>
</div><div class="para">
- To move a synth's execution before another: [pre] variableHoldingSynth.moverBefore( variableHoldingAnotherSynth ); [/pre]
+ To move a synth's execution before another: <div class="funcsynopsis"><p><code class="funcdef">variableHoldingSynth<b class="fsfunc">moveBefore</b>(</code><var class="pdparam">variableHoldingAnotherSynth</var><code>)</code>;</p></div>
</div></div><div class="section" title="11.4.12.3. Replace a Running Synth" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth">11.4.12.3. Replace a Running Synth</h4></div></div></div><div class="para">
The server allows you to replace a running synth with a newly-created one, maintaining all of the ordering relationships.
</div><div class="para">
- This is the syntax: [pre] variableHoldingNewSynth = Synth.replace( variableHoldingSynthToReplace, nameOfSynthDef, ListOfArguments ); [/pre] The "variableHoldingNewSynth" will often be the same as the "variableHoldingSynthToReplace," but not always. When you use this Function, the synth being replaced is freed from the server (equivalent to running "free"), so that variable should always be assigned something.
+ This is the syntax:
+<pre class="programlisting">variableHoldingNewSynth = Synth.replace( variableHoldingSynthToReplace, nameOfSynthDef, ListOfArguments );</pre>
+ The "variableHoldingNewSynth" will often be the same as the "variableHoldingSynthToReplace," but not always. When you use this Function, the synth being replaced is freed from the server (equivalent to running "free"), so that variable should always be assigned something.
</div></div><div class="section" title="11.4.12.4. Pausing and Restarting a Synth" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth">11.4.12.4. Pausing and Restarting a Synth</h4></div></div></div><div class="para">
The server allows you to temporarily pause and later re-start a synth, without freeing and re-creating it.
</div><div class="para">
- To pause a synth: [pre] variableHoldingSynth.run( false ); [/pre]
+ To pause a synth:
+<pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.run( false );</pre>
+
</div><div class="para">
- To re-start a synth: [pre] variableHoldingSynth.run( true ); [/pre]
+ To re-start a synth:
+<pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.run( true );</pre>
+
</div></div></div><div class="section" title="11.4.13. Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling">11.4.13. Scheduling</h3></div></div></div><div class="para">
The practice of scheduling allows you to making things happen in a pre-determined amount of time. Scheduling is very different from ordering: ordering is a primarily technical consideration to ensure that the server synthesizes the sound in the right order; scheduling is a primarily musical consideration that allows you to control the perceived time that things happen.
</div><div class="section" title="11.4.13.1. Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Clocks">11.4.13.1. Clocks</h4></div></div></div><div class="para">
@@ -4095,21 +5426,33 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
</div></div><div class="section" title="11.4.13.2. Default Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks">11.4.13.2. Default Clocks</h4></div></div></div><div class="para">
- The SuperCollider interpreter provides two default clocks, and one default pseudo-clock.
+ The <span class="application"><strong>SuperCollider</strong></span> interpreter provides two default clocks, and one default pseudo-clock.
</div><div class="para">
The <code class="code">SystemClock</code> always operates in seconds, and it can be used to schedule musical events, but usually this isn't necessary.
</div><div class="para">
- The <code class="code">TempoClock.default</code> runs at 60 beats-per-minute by default (equal to one beat per second). Since it's accessible from anywhere within a program, any tempo changes will have an effect on the scheduling of the entire program - so be careful! If you don't want something to be effected by tempo changes, you can create a new TempoClock just for that part of the program. If you will be using this clock frequently, you can assign it to a variable like this: [pre] var t = TempoClock.default; [/pre]
+ The <code class="code">TempoClock.default</code> runs at 60 beats-per-minute by default (equal to one beat per second). Since it's accessible from anywhere within a program, any tempo changes will have an effect on the scheduling of the entire program - so be careful! If you don't want something to be effected by tempo changes, you can create a new TempoClock just for that part of the program. If you will be using this clock frequently, you can assign it to a variable like this:
+<pre class="programlisting">var t = TempoClock.default;</pre>
+
</div><div class="para">
The <code class="code">thisThread.clock</code> is not really a clock in itself, but refers to the clock which is responsible for scheduling the part of the program where the command is written. It can be a little bit tricky working with this clock, since it may be either the SystemClock or a TempoClock.
</div></div><div class="section" title="11.4.13.3. Finding the Current Time" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time">11.4.13.3. Finding the Current Time</h4></div></div></div><div class="para">
- Using the "beats" method on a clock will return that clock's current time. Try running each of the following: [pre] SystemClock.beats; TempoClock.default.beats; thisThread.clock.beats; [/pre]
+ Using the "beats" method on a clock will return that clock's current time. Try running each of the following:
+<pre class="programlisting">
+SystemClock.beats;
+TempoClock.default.beats;
+thisThread.clock.beats;
+</pre>
+
</div><div class="para">
This can be useful for scheduling events in an absolute way, or for a number of other things.
</div></div><div class="section" title="11.4.13.4. Relative Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling">11.4.13.4. Relative Scheduling</h4></div></div></div><div class="para">
The standard way to schedule things is in a certain number of beats from now. If you're scheduling on a SystemClock, one beat is equal to one second. If you're scheduling on a TempoClock, one beat is equal to whatever the current setting is.
</div><div class="para">
- To schedule things on a clock, use the "sched" Function: [pre] nameOfClock.sched( beatsFromNow, FunctionToExecute ); [/pre] The interpreter will let you schedule just about anything, but there's no point in scheduling something other than a Function: scheduling a five won't have any effect - try it! [pre] SystemClock.sched( 5, 5 ); [/pre] It looks like nothing happens. The 5 does happen, but... well... it doesn't do anything. Scheduling a Function ''will'' do something: [pre] SystemClock.sched( 5, { 5.postln; } ); [/pre] When you run this, there are two things to notice:
+ To schedule things on a clock, use the "sched" Function: <div class="funcsynopsis"><p><code class="funcdef">nameOfClock<b class="fsfunc">sched</b>(</code><var class="pdparam">beatsFromNow</var>, <var class="pdparam">FunctionToExecute</var><code>)</code>;</p></div> The interpreter will let you schedule just about anything, but there's no point in scheduling something other than a Function: scheduling a five won't have any effect - try it!
+<pre class="programlisting">SystemClock.sched( 5, 5 );</pre>
+ It looks like nothing happens. The <code class="literal">5</code> does happen, but... well... it doesn't do anything. Scheduling a Function ''will'' do something:
+<pre class="programlisting">SystemClock.sched( 5, { 5.postln; } );</pre>
+ When you run this, there are two things to notice:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
The interpreter prints out "SystemClock" first. This is to let you know that it did the scheduling as requested.
</div></li><li class="listitem"><div class="para">
@@ -4119,45 +5462,70 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="11.4.13.5. Repeated Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling">11.4.13.5. Repeated Scheduling</h4></div></div></div><div class="para">
If you schedule a Function that returns a number, the interpreter will schedule the Function to re-run in that many beats.
</div><div class="para">
- This will print "5" every five seconds, until you press [Esc] to stop execution. [pre] SystemClock.sched( 5, { 5.postln; } ); [/pre]
+ This will print "5" every five seconds, until you press [Esc] to stop execution.
+<pre class="programlisting">SystemClock.sched( 5, { 5.postln; } );</pre>
+
</div><div class="para">
- To avoid this, you can end your Function with "nil", which has been done sometimes through this guide. [pre] SystemClock.sched( 5, { 5.postln; nil; } ); [/pre] This will print "5" in five seconds, and then stop.
+ To avoid this, you can end your Function with <code class="literal">nil</code>, which has been done sometimes through this guide.
+<pre class="programlisting">SystemClock.sched( 5, { 5.postln; nil; } );</pre>
+ This will print <code class="literal">5</code> in five seconds, and then stop.
</div></div><div class="section" title="11.4.13.6. Working with the TempoClock Class" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class">11.4.13.6. Working with the TempoClock Class</h4></div></div></div><div class="para">
Here is a brief explanation of some Functions available with the TempoClock Class. Throughout this section, the variable "t" is used to represent any particular TempoClock.
</div><div class="para">
- [pre] var t = TempoClock.new( tempo, beats ); [/pre] This creates a new TempoClock. The arguments are optional, and have the following meanings: * tempo: tempo of the clock, given in beats per second. To input a value in beats-per-minute, divide it by 60. Defaults to 60 beats per minute, or one per second. * beats: starts the clock at this time. Default is zero.
+
+<pre class="programlisting">var t = TempoClock.new( tempo, beats );</pre>
+ This creates a new TempoClock. The arguments are optional, and have the following meanings:
+ <div class="itemizedlist"><ul><li class="listitem"><div class="para">
+ tempo: tempo of the clock, given in beats per second. To input a value in beats-per-minute, divide it by 60. Defaults to 60 beats per minute, or one per second.
+ </div></li><li class="listitem"><div class="para">
+ beats: starts the clock at this time. Default is zero.
+ </div></li></ul></div>
+
</div><div class="para">
- [pre] t.stop; t = nil; [/pre] Equivalent to the "free" method for a Synth of Bus Object. This stops the clock, discards all scheduled events, and releases the resources used to run the clock. Setting the variable to "nil" afterwards is optional, but recommended, to avoid later programming mistakes.
+
+<pre class="programlisting">
+t.stop;
+t = nil;
+</pre>
+ Equivalent to the "free" method for a Synth of Bus Object. This stops the clock, discards all scheduled events, and releases the resources used to run the clock. Setting the variable to "nil" afterwards is optional, but recommended, to avoid later programming mistakes.
</div><div class="para">
- [pre] t.clear; [/pre] Discards all scheduled events, but keeps the clock running.
+
+<pre class="programlisting"><em class="replaceable"><code>t</code></em>.clear;</pre>
+ Discards all scheduled events, but keeps the clock running.
</div><div class="para">
- [pre] t.tempo; [/pre] Returns the current tempo in beats-per-second.
+
+<pre class="programlisting"><em class="replaceable"><code>t</code></em>.tempo;</pre>
+ Returns the current tempo in beats-per-second.
</div><div class="para">
- [pre] t.tempo_( newTempo ); [/pre] Allows you to change the clock's tempo. The new tempo should be in beats-per-second. To input a tempo in beats-per-minute, divide the value by 60.
+
+<pre class="programlisting"><em class="replaceable"><code>t</code></em>.tempo_( <em class="replaceable"><code>newTempo</code></em> );</pre>
+ Allows you to change the clock's tempo. The new tempo should be in beats-per-second. To input a tempo in beats-per-minute, divide the value by 60.
</div><div class="para">
- [pre] t.play( Function ); [/pre] Schedules the Function to begin execution on the next beat.
+
+<pre class="programlisting"><em class="replaceable"><code>t</code></em>.play( <em class="replaceable"><code>aFunction</code></em> );</pre>
+ Schedules the Function to begin execution on the next beat.
</div><div class="para">
There are many other Functions in the TempoClock Class, related to absolute scheduling, scheduling with bars, and conversion of beats to and from seconds.
</div></div></div><div class="section" title="11.4.14. How to Get Help" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</h3></div></div></div><div class="para">
- Knowing how to get help in SuperCollider is going to play a large part in determining whether you have a productive or frustrating relationship with the language and its components. There are a large number of ways to get help, but here are some of the most helpful.
- </div><div class="section" title="11.4.14.1. Use the SuperCollider Help Files" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files">11.4.14.1. Use the SuperCollider Help Files</h4></div></div></div><div class="para">
- SuperCollider comes with an extensive collection of help files, which contain the answers to most of your problems. The difficulty will be in finding the solution - it's not always located where you think it is, because it often isn't the solution you think it will be.
+ Knowing how to get help in <span class="application"><strong>SuperCollider</strong></span> is going to play a large part in determining whether you have a productive or frustrating relationship with the language and its components. There are a large number of ways to get help, but here are some of the most helpful.
+ </div><div class="section" title="11.4.14.1. Use the SuperCollider Help Files" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files">11.4.14.1. Use the <span class="application"><strong>SuperCollider</strong></span> Help Files</h4></div></div></div><div class="para">
+ <span class="application"><strong>SuperCollider</strong></span> comes with an extensive collection of help files, which contain the answers to most of your problems. The difficulty will be in finding the solution - it's not always located where you think it is, because it often isn't the solution you think it will be.
</div><div class="para">
On Fedora Linux systems, the main help file is located at [file:///usr/share/SuperCollider/Help/Help.html this URL], and it can be viewed in any web browser. It may also be helpful to browse the directory structure of the help files, located at [file:///usr/share/SuperCollider/Help this URL], which can also be viewed in your web browser.
</div><div class="para">
- If you're looking for further explanations of material in this tutorial, you could start by reviewing the [file:///usr/share/SuperCollider/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html Getting Started With SuperCollider] tutorial, on which this document is based. The sections in that tutorial roughly correspond to the sections in this guide.
+ If you're looking for further explanations of material in this tutorial, you could start by reviewing the [file:///usr/share/SuperCollider/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html Getting Started With <span class="application"><strong>SuperCollider</strong></span>] tutorial, on which this document is based. The sections in that tutorial roughly correspond to the sections in this guide.
</div></div><div class="section" title="11.4.14.2. Internet Relay Chat (IRC)" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC">11.4.14.2. Internet Relay Chat (IRC)</h4></div></div></div><div class="para">
If you know how to use Internet Relay Chat (IRC), you can join the #supercollider channel on the Freenode network. The channel does not usually have a large number of participants or a lot of activity, but the users are some of the most polite and helpful on the internet.
</div></div><div class="section" title="11.4.14.3. Email" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email">11.4.14.3. Email</h4></div></div></div><div class="para">
If you feel comfortable sending an email to a mailing list, you can use the <em class="citetitle">sc-users Mailing List</em>, available at <a href="http://www.beast.bham.ac.uk/research/sc_mailing_lists.shtml">http://www.beast.bham.ac.uk/research/sc_mailing_lists.shtml</a>. If you decide to subscribe to this list, be aware that it receives a large amount of mail every day.
- </div></div><div class="section" title="11.4.14.4. The SuperCollider Website" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website">11.4.14.4. The SuperCollider Website</h4></div></div></div><div class="para">
- The <em class="citetitle">SuperCollider Website</em> at SourceForge (<a href="http://supercollider.sourceforge.net/">http://supercollider.sourceforge.net/</a>) offers links to many resources.
+ </div></div><div class="section" title="11.4.14.4. The SuperCollider Website" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website">11.4.14.4. The <span class="application"><strong>SuperCollider</strong></span> Website</h4></div></div></div><div class="para">
+ The <em class="citetitle"><span class="application"><strong>SuperCollider</strong></span> Website</em> at SourceForge (<a href="http://supercollider.sourceforge.net/">http://supercollider.sourceforge.net/</a>) offers links to many resources.
</div></div></div><div class="section" title="11.4.15. Legal Attribution" id="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</h3></div></div></div><div class="para">
- This portion of the Fedora Musicians' Guide, called "Basic Programming with SuperCollider," is a derivative work of the, <em class="citetitle">Getting Started With SuperCollider</em> tutorial. The original work was created by Scott Wilson, James Harkins, and the SuperCollider development team. It is available on the internet from <a href="http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html">http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html</a>.
+ This portion of the Fedora Musicians' Guide, called "Basic Programming with <span class="application"><strong>SuperCollider</strong></span>," is a derivative work of the, <em class="citetitle">Getting Started With <span class="application"><strong>SuperCollider</strong></span></em> tutorial. The original work was created by Scott Wilson, James Harkins, and the <span class="application"><strong>SuperCollider</strong></span> development team. It is available on the internet from <a href="http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html">http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html</a>.
</div><div class="para">
- The original document, like all SuperCollider documentation, is licenced under the Creative Commons' <em class="citetitle">Attribution Share-Alike 3.0 Unported Licence</em>, accessible on the internet at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>.
+ The original document, like all <span class="application"><strong>SuperCollider</strong></span> documentation, is licenced under the Creative Commons' <em class="citetitle">Attribution Share-Alike 3.0 Unported Licence</em>, accessible on the internet at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>.
</div><div class="para">
- This usage should in no way be construed as an endorsement of the Fedora Project, the Musicians' Guide, or any other party by the SuperCollider development team.
+ This usage should in no way be construed as an endorsement of the Fedora Project, the Musicians' Guide, or any other party by the <span class="application"><strong>SuperCollider</strong></span> development team.
</div></div></div><div xml:lang="en-US" class="section" title="11.5. Composing with SuperCollider" id="sect-Musicians_Guide-SuperCollider-Composing" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Composing">11.5. Composing with SuperCollider</h2></div></div></div><div class="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.
</div><div class="para">
@@ -4191,9 +5559,32 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 3"><div class="para">
Now it sounds balanced, at least, like it's coming from the middle. But it's still boring, so I added a frequency-changing SinOsc to the right channel, resulting in <code class="code">{ [ SinOsc.ar(), SinOsc.ar(SinOsc.kr(1,50,300)) ] }.play;</code>
</div></li><li class="step" title="Step 4"><div class="para">
- Since that's difficult to read, and since I know that I'm just going to keep adding things, I expand the code a little bit to make it more legible. This gives me [pre]{ var left = SinOsc.ar(); var right = SinOsc.ar( SinOsc.kr( 1, 50, 300 ) ); [ left, right ] }.play;[/pre]I define a variable holding everything I want in the left channel, then the same for the right. I still use the [ , ] array notation to create a stereo array. Remember that SuperCollider functions return the last value stated, so it might look like the stereo array is ignored, but because this array is what is returned by the function contained between { and }, it is this array that gets played by the following ".play;"
+ Since that's difficult to read, and since I know that I'm just going to keep adding things, I expand the code a little bit to make it more legible. This gives me
+<pre class="programlisting">
+{
+ var left = SinOsc.ar();
+ var right = SinOsc.ar( SinOsc.kr( 1, 50, 300 ) );
+
+ [ left, right ]
+
+}.play;
+</pre>
+ I define a variable holding everything I want in the left channel, then the same for the right. I still use the [ , ] array notation to create a stereo array. Remember that SuperCollider functions return the last value stated, so it might look like the stereo array is ignored, but because this array is what is returned by the function contained between { and }, it is this array that gets played by the following ".play;"
</div></li><li class="step" title="Step 5"><div class="para">
- I also added a frequency controller to the left SinOsc, and realized that it's getting a bit difficult to read again, especially if I wanted to add another parameter to the SinOsc.ar objects. So I placed the SinOsc.kr's into their own variables: frequencyL and frequencyR. This results in [pre]{ var frequencyL = SinOsc.kr( freq:10, mul:200, add:400 ); var frequencyR = SinOsc.kr( freq:1, mul:50, add:150 ); var left = SinOsc.ar( frequencyL ); var right = SinOsc.ar( frequencyR ); [ left, right ] }.play;[/pre]
+ I also added a frequency controller to the left SinOsc, and realized that it's getting a bit difficult to read again, especially if I wanted to add another parameter to the SinOsc.ar objects. So I placed the SinOsc.kr's into their own variables: frequencyL and frequencyR. This results in
+<pre class="programlisting">
+{
+ var frequencyL = SinOsc.kr( freq:10, mul:200, add:400 );
+ var frequencyR = SinOsc.kr( freq:1, mul:50, add:150 );
+
+ var left = SinOsc.ar( frequencyL );
+ var right = SinOsc.ar( frequencyR );
+
+ [ left, right ]
+
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 6"><div class="para">
Now I can experiment with the frequency-changing SinOsc's, to make sure that I get things just right. When I realize what the parameters do, I make a note for myself (see "FSC-method-1-.sc"), so that it will be easy to adjust it later. I also explicitly call the parameters. This isn't necessary, but it also helps to avoid future confusion. Most programmers would not explicitly call the parameters, but we're musicians, not programmers.
</div></li><li class="step" title="Step 7"><div class="para">
@@ -4239,7 +5630,13 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
First I will develop the version used in FSC-method-1.sc, then the version used in FSC-method-1-short.sc
</div></div><div class="section" title="11.5.5. Creating Ten Pseudo-Random Tones" id="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- We'll start again with something simple, that we know how to do. [pre]{ SinOsc.ar(); }.play;[/pre]
+ We'll start again with something simple, that we know how to do.
+<pre class="programlisting">
+{
+ SinOsc.ar();
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 2"><div class="para">
We already know that we want this to produce stereo output, and we already know that we're going to be using enough SinOsc's that we'll need to reduce "mul." Keeping in mind that there will be ten pitches, and two SinOsc's for each of them, set both of those things now, keeping just one pitch for now.
</div></li><li class="step" title="Step 3"><div class="para">
@@ -4247,11 +5644,87 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 4"><div class="para">
I hope you didn't end up with two different frequencies! If you did, you'll need to use a variable to temporarily store the pseduo-random frequency, so that both sides can use it.
</div></li><li class="step" title="Step 5"><div class="para">
- Now we need to make ten of these, so copy-and-paste until there are ten different stereo pitches at once.[pre]{ var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.a
r( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] }.play;[/pre]
+ Now we need to make ten of these, so copy-and-paste until there are ten different stereo pitches at once.
+<pre class="programlisting">
+{
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 6"><div class="para">
- It doesn't work: you'll also have to rename your frequency-setting variable each time.[pre]{ var frequency1 = 200 + 600.rand; [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] var frequency2 = 200 + 600.rand; [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ] var frequency3 = 200 + 600.rand; [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ] var frequency4 = 200 + 600.rand; [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ] var frequency5 = 200 + 600.rand; [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ] var frequency6 = 200 + 600.rand; [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ] var frequency7 = 200 + 600.rand; [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ] var frequency8 = 200 + 600.rand; [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinO
sc.ar( freq:frequency8, mul:0.01 ) ] var frequency9 = 200 + 600.rand; [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ] var frequency0 = 200 + 600.rand; [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ] }.play;[/pre]
+ It doesn't work: you'll also have to rename your frequency-setting variable each time.
+<pre class="programlisting">
+{
+ var frequency1 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]
+ var frequency2 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ]
+ var frequency3 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ]
+ var frequency4 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ]
+ var frequency5 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ]
+ var frequency6 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ]
+ var frequency7 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ]
+ var frequency8 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ]
+ var frequency9 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ]
+ var frequency0 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ]
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 7"><div class="para">
- It still doesn't work! The error given in the "SuperCollider output" window is not easy to understand, but it means "You have to put all of your variable declarations before everything else."[pre]{ var frequency1 = 200 + 600.rand; var frequency2 = 200 + 600.rand; var frequency3 = 200 + 600.rand; var frequency4 = 200 + 600.rand; var frequency5 = 200 + 600.rand; var frequency6 = 200 + 600.rand; var frequency7 = 200 + 600.rand; var frequency8 = 200 + 600.rand; var frequency9 = 200 + 600.rand; var frequency0 = 200 + 600.rand; [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ] [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ] [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ] [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ] [ SinOsc.ar( freq:frequency6, mul:0.01 ),
SinOsc.ar( freq:frequency6, mul:0.01 ) ] [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ] [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ] [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ] [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ] }.play;[/pre]
+ It still doesn't work! The error given in the "SuperCollider output" window is not easy to understand, but it means "You have to put all of your variable declarations before everything else."
+<pre class="programlisting">
+{
+ var frequency1 = 200 + 600.rand;
+ var frequency2 = 200 + 600.rand;
+ var frequency3 = 200 + 600.rand;
+ var frequency4 = 200 + 600.rand;
+ var frequency5 = 200 + 600.rand;
+ var frequency6 = 200 + 600.rand;
+ var frequency7 = 200 + 600.rand;
+ var frequency8 = 200 + 600.rand;
+ var frequency9 = 200 + 600.rand;
+ var frequency0 = 200 + 600.rand;
+
+ [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ]
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 8"><div class="para">
It still doesn't work! SuperCollider is confused because I was been lazy and didn't include enough semicolons. The error we get is, "Index not an Integer," which is a clue as to what SuperCollider is trying to do (but it's irrelevant). The real problem is that SuperCollider interprets our ten stereo arrays as all being part of the same statement. We don't want them to be the same statement, however, because we want ten ''different'' stereo arrays to be played. Fix this problem by putting a semicolon at the end of each stereo array. You don't ''need'' to include one at the end of the last statement, because SuperCollider assumes the end of the statement when it encounters a } (end-of-function marker) after it. Since we're still building our code, we might move these around or add something aftwards, so it's better to include a semicolon at the end of each stereo array.
</div></li><li class="step" title="Step 9"><div class="para">
@@ -4259,9 +5732,42 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 10"><div class="para">
Only one SinOsc array gets played, and it's the last one. This is because the last statement is returned by the function that ends at } and it is that result which gets sent to the following .play
</div></li><li class="step" title="Step 11"><div class="para">
- To fix this, and ensure that all of the stereo arrays are played, you should remove the .play from the end of the function, and add a .play to each stereo array statement. You end up with [pre]{ var frequency1 = 200 + 600.rand; var frequency2 = 200 + 600.rand; var frequency3 = 200 + 600.rand; var frequency4 = 200 + 600.rand; var frequency5 = 200 + 600.rand; var frequency6 = 200 + 600.rand; var frequency7 = 200 + 600.rand; var frequency8 = 200 + 600.rand; var frequency9 = 200 + 600.rand; var frequency0 = 200 + 600.rand; [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ].play; [ SinOsc.ar( f
req:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ].play; }[/pre]
+ To fix this, and ensure that all of the stereo arrays are played, you should remove the .play from the end of the function, and add a .play to each stereo array statement. You end up with
+<pre class="programlisting">
+{
+ var frequency1 = 200 + 600.rand;
+ var frequency2 = 200 + 600.rand;
+ var frequency3 = 200 + 600.rand;
+ var frequency4 = 200 + 600.rand;
+ var frequency5 = 200 + 600.rand;
+ var frequency6 = 200 + 600.rand;
+ var frequency7 = 200 + 600.rand;
+ var frequency8 = 200 + 600.rand;
+ var frequency9 = 200 + 600.rand;
+ var frequency0 = 200 + 600.rand;
+
+ [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ].play;
+}
+</pre>
+
</div></li><li class="step" title="Step 12"><div class="para">
- When you execute this, no sound is produced, but SuperCollider outputs "a Function." Can you think of why this happens? It's because you wrote a function, but never told SuperCollider to evaluate it! At the end of execution, SuperCollider just throws away the function, because it's never used. This is the same thing that happened to the first nine stereo arrays - they were created, but you never said to do anything with them, so they were just thrown out. We need to execute the function. Because it doesn't produce a UGen, we can't use "play," so we have to use "value" instead. You can choose to do either of these:[pre]{ ... }.value;[/pre] or [pre]var myFunction = { ... }; myFunction.value;[/pre]
+ When you execute this, no sound is produced, but SuperCollider outputs "a Function." Can you think of why this happens? It's because you wrote a function, but never told SuperCollider to evaluate it! At the end of execution, SuperCollider just throws away the function, because it's never used. This is the same thing that happened to the first nine stereo arrays - they were created, but you never said to do anything with them, so they were just thrown out. We need to execute the function. Because it doesn't produce a UGen, we can't use "play," so we have to use "value" instead. You can choose to do either of these:
+<pre class="programlisting">{ ... }.value;</pre>
+ or
+<pre class="programlisting">
+var myFunction = { ... };
+myFunction.value;
+</pre>
+
</div></li><li class="step" title="Step 13"><div class="para">
This gives us yet another error, as if we can't play the stereo arrays! In fact, we can't - and we didn't do it in the first part, either. We play'ed the result of returning a stereo array from a function. The subtle difference isn't important yet - we're just trying to make this work! Use { and } to build a function for .play to .play
</div></li><li class="step" title="Step 14"><div class="para">
@@ -4273,11 +5779,20 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 2"><div class="para">
The default TempoClock has a default tempo of one beat per second (1 Hz). This will be good enough for us. If you wanted to change the tempo, remember that you can enter a metronome setting (which is "beats per minute") by dividing the metronome setting by 60. So a metronome's 120 beats per minute would be given to a new TempoClock as <code class="code">TempoClock.new( 120/60 )</code>. Even though you could do that ahead of time and just write "2," inputting it as "120/60" makes it clearer what tempo you intend to set.
</div></li><li class="step" title="Step 3"><div class="para">
- You can schedule something on a TempoClock by using <code class="code">t_c.sched( x, f );</code>, where "f" is a function to execute, and "x" is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this: [pre]t_c.sched( 1, {{[ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]}.play;} );[/pre]
+ You can schedule something on a TempoClock by using <code class="code">t_c.sched( x, f );</code>, where "f" is a function to execute, and "x" is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this:
+<pre class="programlisting">t_c.sched( 1, {{[ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]}.play;} );</pre>
</div></li><li class="step" title="Step 4"><div class="para">
Schedule the rest, in intervals of five beats (which is five seconds). They will all be scheduled virtually instantaneously (that is, the computer will notice the slight delay between when each one is scheduled, but humans will not). I started at one beat from now, to insert a slight pause before the sound begins.
</div></li><li class="step" title="Step 5"><div class="para">
- If you've done this correctly, then we should get a build-up of ten pitches. But they never stop! This is going to take some more ingenuity to solve, because we can't just make a stereo array, play it, then throw it away. We need to hold onto the stereo array, so that we can stop it. The first step here is to store the stereo arrays in variables, and subsequently schedule them. You will end up with something like this:[pre]var sinosc1 = { [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] }; // the other nine... t_c.sched( 1, { sinosc1.play; } ); // the other nine...[/pre]
+ If you've done this correctly, then we should get a build-up of ten pitches. But they never stop! This is going to take some more ingenuity to solve, because we can't just make a stereo array, play it, then throw it away. We need to hold onto the stereo array, so that we can stop it. The first step here is to store the stereo arrays in variables, and subsequently schedule them. You will end up with something like this:
+<pre class="programlisting">
+var sinosc1 = { [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] };
+// the other nine...
+
+ t_c.sched( 1, { sinosc1.play; } );
+// the other nine...
+</pre>
+
</div></li><li class="step" title="Step 6"><div class="para">
It should still work, but we after all that cutting-and-pasting, we still haven't managed to turn off the SinOsc's. We need to "free" the object that was returned when we used the "play" function. We need to declare yet more variables: <code class="code">var so1, so2, so3, so4, so5, so6, so7, so8, so9, so0;</code> should appear anywhere before the scheduler.
</div></li><li class="step" title="Step 7"><div class="para">
@@ -4285,7 +5800,60 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 8"><div class="para">
Now you can add ten of these, after the existing scheduling commands: <code class="code">t_c.sched( 51, { so1.free; } );</code>. Be sure to schedule each one for 51 beats, so that they all turn off simultaneously, 5 beats after the last pitch is added.
</div></li><li class="step" title="Step 9"><div class="para">
- It should work successfully. If it doesn't, then compare what you have to this, which does work:[pre]var t_c = TempoClock.default; { var frequency1 = 200 + 600.rand; var frequency2 = 200 + 600.rand; var frequency3 = 200 + 600.rand; var frequency4 = 200 + 600.rand; var frequency5 = 200 + 600.rand; var frequency6 = 200 + 600.rand; var frequency7 = 200 + 600.rand; var frequency8 = 200 + 600.rand; var frequency9 = 200 + 600.rand; var frequency0 = 200 + 600.rand; var sinosc1 = { [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] }; var sinosc2 = { [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ] }; var sinosc3 = { [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ] }; var sinosc4 = { [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ] }; var sinosc5 = { [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ] }; var sinosc6
= { [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ] }; var sinosc7 = { [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ] }; var sinosc8 = { [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ] }; var sinosc9 = { [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ] }; var sinosc0 = { [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ] }; var so1, so2, so3, so4, so5, so6, so7, so8, so9, so0; t_c.sched( 1, { so1 = sinosc1.play; } ); t_c.sched( 6, { so2 = sinosc2.play; } ); t_c.sched( 11, { so3 = sinosc3.play; } ); t_c.sched( 16, { so4 = sinosc4.play; } ); t_c.sched( 21, { so5 = sinosc5.play; } ); t_c.sched( 26, { so6 = sinosc6.play; } ); t_c.sched( 31, { so7 = sinosc7.play; } ); t_c.sched( 36, { so8 = sinosc8.play; } ); t_c.sched( 41, { so9 = sinosc9.play; } ); t_c.sched( 46, { so0 = sinosc0.play; } ); t_c.sched( 51, { s
o1.free; } ); t_c.sched( 51, { so2.free; } ); t_c.sched( 51, { so3.free; } ); t_c.sched( 51, { so4.free; } ); t_c.sched( 51, { so5.free; } ); t_c.sched( 51, { so6.free; } ); t_c.sched( 51, { so7.free; } ); t_c.sched( 51, { so8.free; } ); t_c.sched( 51, { so9.free; } ); t_c.sched( 51, { so0.free; } ); }.value;[/pre]
+ It should work successfully. If it doesn't, then compare what you have to this, which does work:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+{
+ var frequency1 = 200 + 600.rand;
+ var frequency2 = 200 + 600.rand;
+ var frequency3 = 200 + 600.rand;
+ var frequency4 = 200 + 600.rand;
+ var frequency5 = 200 + 600.rand;
+ var frequency6 = 200 + 600.rand;
+ var frequency7 = 200 + 600.rand;
+ var frequency8 = 200 + 600.rand;
+ var frequency9 = 200 + 600.rand;
+ var frequency0 = 200 + 600.rand;
+
+ var sinosc1 = { [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] };
+ var sinosc2 = { [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ] };
+ var sinosc3 = { [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ] };
+ var sinosc4 = { [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ] };
+ var sinosc5 = { [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ] };
+ var sinosc6 = { [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ] };
+ var sinosc7 = { [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ] };
+ var sinosc8 = { [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ] };
+ var sinosc9 = { [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ] };
+ var sinosc0 = { [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ] };
+
+ var so1, so2, so3, so4, so5, so6, so7, so8, so9, so0;
+
+ t_c.sched( 1, { so1 = sinosc1.play; } );
+ t_c.sched( 6, { so2 = sinosc2.play; } );
+ t_c.sched( 11, { so3 = sinosc3.play; } );
+ t_c.sched( 16, { so4 = sinosc4.play; } );
+ t_c.sched( 21, { so5 = sinosc5.play; } );
+ t_c.sched( 26, { so6 = sinosc6.play; } );
+ t_c.sched( 31, { so7 = sinosc7.play; } );
+ t_c.sched( 36, { so8 = sinosc8.play; } );
+ t_c.sched( 41, { so9 = sinosc9.play; } );
+ t_c.sched( 46, { so0 = sinosc0.play; } );
+
+ t_c.sched( 51, { so1.free; } );
+ t_c.sched( 51, { so2.free; } );
+ t_c.sched( 51, { so3.free; } );
+ t_c.sched( 51, { so4.free; } );
+ t_c.sched( 51, { so5.free; } );
+ t_c.sched( 51, { so6.free; } );
+ t_c.sched( 51, { so7.free; } );
+ t_c.sched( 51, { so8.free; } );
+ t_c.sched( 51, { so9.free; } );
+ t_c.sched( 51, { so0.free; } );
+
+}.value;
+</pre>
+
</div></li></ol></div></div><div class="section" title="11.5.7. Optimizing the Code" id="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code">11.5.7. Optimizing the Code</h3></div></div></div><div class="para">
Hopefully, while working through the previous sections, you got an idea of how tedious, boring, difficult-to-read, and error-prone this sort of copy-and-paste programming can be. It's ridiculous, and it's poor programming:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -4339,15 +5907,42 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 14"><div class="para">
Getting the next two loops working is a little bit more complicated. We know how to run the exact same code in a loop, but we don't know how to change it subtly (by supplying different index numbers for the array, for example). Thankfully, SuperCollider provides a way to keep track of how many times the function in a loop has already been run. The first argument given to a function in a loop is the number of times that the function has ''already'' been executed. The first time it is run, the function receives a 0; if we're using a <code class="code">10.do( ... );</code> loop, then the last time the function is run, it receives a 9 because the function has already been executed 9 times. Since our ten-element array is indexed from 0 to 9, this works perfectly for us.
</div></li><li class="step" title="Step 15"><div class="para">
- The code to free is shorter: <code class="code">10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );</code> This can look confusing, especially written in one line, like it is. If it helps, you might want to write it like this instead: [pre] 10.do ({ arg index; t_c.sched( 51, { so[index].free; } ); }); [/pre]Now it looks more like a typical function.
+ The code to free is shorter: <code class="code">10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );</code> This can look confusing, especially written in one line, like it is. If it helps, you might want to write it like this instead:
+<pre class="programlisting">
+10.do
+({ arg index;
+ t_c.sched( 51, { so[index].free; } );
+});
+</pre>
+ Now it looks more like a typical function.
</div></li><li class="step" title="Step 16"><div class="para">
- The next step is to simplify the original scheduling calls in a similar way, but it's slightly more complicated because we have to schedule a different number of measures for each call. With a little math, this is also not a problem - it's just a simple linear equation:[pre]number_of_measures = 5 * array_index + 1[/pre]Try to write this loop by yourself, before going to the next step.
+ The next step is to simplify the original scheduling calls in a similar way, but it's slightly more complicated because we have to schedule a different number of measures for each call. With a little math, this is also not a problem - it's just a simple linear equation: <code class="literal">number_of_measures = 5 * array_index + 1</code> Try to write this loop by yourself, before going to the next step.
</div></li><li class="step" title="Step 17"><div class="para">
- If you missed it, my solution is [pre] 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( sinosc[index].play; ); } ); } ); [/pre] which includes some extra parentheses to ensure that the math is computed in the right order.
+ If you missed it, my solution is
+<pre class="programlisting">10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( sinosc[index].play; ); } ); } );</pre>
+ which includes some extra parentheses to ensure that the math is computed in the right order.
</div></li><li class="step" title="Step 18"><div class="para">
The code is already much shorter, easier to understand, and easier to expand or change. There is one further optimzation that we can easily make: get rid of the sinosc array. This simply involves replacing <code class="code">sinosc[index]</code> with what all of its elements are: <code class="code">{func.value;}</code>
</div></li><li class="step" title="Step 19"><div class="para">
- The resulting program is a little different from what ended up in FSC_method_1.sc, but produces the same output. What I have is this: [pre] var t_c = TempoClock.default; { var so = Array.new( 10 ); var func = { var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]; }; 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } ); 10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } ); }.value; [/pre]
+ The resulting program is a little different from what ended up in FSC_method_1.sc, but produces the same output. What I have is this:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+{
+ var so = Array.new( 10 );
+
+ var func =
+ {
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ];
+ };
+
+ 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } );
+ 10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );
+
+}.value;
+</pre>
+
</div></li><li class="step" title="Step 20"><div class="para">
Finally, assign this Function to a variable (called "secondPart", perhaps), and remove the "value" Function-call. If we leave that in, the Function will execute before the rest of the program begins!
</div></li></ol></div></div><div class="section" title="11.5.8. Making a Useful Section out of the Second Part" id="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part">11.5.8. Making a Useful Section out of the Second Part</h3></div></div></div><div class="para">
@@ -4355,17 +5950,127 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
You can skip this section, and return later. The actions for the rest of the tutorial remain unchanged whether you do or do not make the modifications in this section.
</div><div class="para">
- Here's what I have from the previous step: [pre] var t_c = TempoClock.default; var secondPart = { var so = Array.new( 10 ); var func = { var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]; }; 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } ); 10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } ); }; [/pre] This Function is the perfect solution if you want ten pseudo-random pitches between 200 Hz and 800 Hz, and a five-second pause between each one. If you want nine or eleven pitches, if you want them to eb between 60 Hz and 80Hz, if you want a six-second pause between each - you would have to modify the Function. If you don't remember how it works, or if you give it to a friend, you're going to have to figure out how it works before you modify it. This is not an ideal solution.
+ Here's what I have from the previous step:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+var secondPart =
+{
+ var so = Array.new( 10 );
+
+ var func =
+ {
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ];
+ };
+
+ 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } );
+ 10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );
+
+};
+</pre>
+ This Function is the perfect solution if you want ten pseudo-random pitches between 200 Hz and 800 Hz, and a five-second pause between each one. If you want nine or eleven pitches, if you want them to eb between 60 Hz and 80Hz, if you want a six-second pause between each - you would have to modify the Function. If you don't remember how it works, or if you give it to a friend, you're going to have to figure out how it works before you modify it. This is not an ideal solution.
</div><div class="para">
- Let's solve these problems one at a time, starting with allowing a different number of SinOsc synths to be created. We know that we'll have to create an argument, and that it will have to be used wherever we need the number of SinOsc's. Also, to preserve functionality, we'll make a default assignment of 10. Try to accomplish this yourself, making sure to test your Function so that you know it works. Here's what I did: [pre] var t_c = TempoClock.default; var secondPart = { arg number_of_SinOscs = 10; var so = Array.new( number_of_SinOscs ); var func = { var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]; }; number_of_SinOscs.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } ); number_of_SinOscs.do( { arg index; t_c.sched( 51, { so[index].free; } ); } ); }; [/pre] The "do" loop doesn't need a constant number; it's fine with a variable. What happens when you pass a bad argumen
t, like a string? This would be an easy way to sabotage your program, and in almost any other programming context it would concern us, but this is just audio programming. If somebody is going to try to create "cheese" SinOsc's, it's their own fault for mis-using the Function.
+ Let's solve these problems one at a time, starting with allowing a different number of SinOsc synths to be created. We know that we'll have to create an argument, and that it will have to be used wherever we need the number of SinOsc's. Also, to preserve functionality, we'll make a default assignment of 10. Try to accomplish this yourself, making sure to test your Function so that you know it works. Here's what I did:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+var secondPart =
+{
+ arg number_of_SinOscs = 10;
+
+ var so = Array.new( number_of_SinOscs );
+
+ var func =
+ {
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ];
+ };
+
+ number_of_SinOscs.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } );
+ number_of_SinOscs.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );
+
+};
+</pre>
+ The "do" loop doesn't need a constant number; it's fine with a variable. What happens when you pass a bad argument, like a string? This would be an easy way to sabotage your program, and in almost any other programming context it would concern us, but this is just audio programming. If somebody is going to try to create "cheese" SinOsc's, it's their own fault for mis-using the Function.
</div><div class="para">
- Now let's modify the Function so that we can adjust the range of frequencies that the Function will generate. We know that we'll need two more arguments, and that they'll have to be used in the equation to calculate the frequency. But we'll also need to do a bit of arithmetic, because of the way the "rand" Function works (actually we don't - see the "rand" Function's help file). Also, to preserve functionality, we'll make default assignments of 200 and 800. Try to accomplish this yourself, making sure that you test the Function so you know it works. Here's what I did: [pre] var t_c = TempoClock.default; var secondPart = { arg number_of_SinOscs = 10, pitch_low = 200, pitch_high = 800; var so = Array.new( number_of_SinOscs ); var func = { var freq = pitch_low + (pitch_high - pitch_low).rand; [ SinOsc.ar( freq:freq, mul:0.01), SinOsc.ar( freq:freq, mul:0.01) ]; }; number_of_SinOscs.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } ); num
ber_of_SinOscs.do( { arg index; t_c.sched( 51, { so[index].free; } ); } ); }; [/pre] Notice that I changed the name of the variables, and the indentation in the "func" sub-Function, to make it easier to read. This isn't a particularly difficult change.
+ Now let's modify the Function so that we can adjust the range of frequencies that the Function will generate. We know that we'll need two more arguments, and that they'll have to be used in the equation to calculate the frequency. But we'll also need to do a bit of arithmetic, because of the way the "rand" Function works (actually we don't - see the "rand" Function's help file). Also, to preserve functionality, we'll make default assignments of 200 and 800. Try to accomplish this yourself, making sure that you test the Function so you know it works. Here's what I did:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+var secondPart =
+{
+ arg number_of_SinOscs = 10,
+ pitch_low = 200,
+ pitch_high = 800;
+
+ var so = Array.new( number_of_SinOscs );
+
+ var func =
+ {
+ var freq = pitch_low + (pitch_high - pitch_low).rand;
+ [ SinOsc.ar( freq:freq, mul:0.01),
+ SinOsc.ar( freq:freq, mul:0.01) ];
+ };
+
+ number_of_SinOscs.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } );
+ number_of_SinOscs.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );
+
+};
+</pre>
+ Notice that I changed the name of the variables, and the indentation in the "func" sub-Function, to make it easier to read. This isn't a particularly difficult change.
</div><div class="para">
Now let's allow the user to set the length of time between each SinOsc appears. We will need one more argument, used in the scheduling command. Try to accomplish this yourself, and if you run into difficulty, the next paragraph contains some tips.
</div><div class="para">
- The change to the "do" loop which schedules the SinOsc's to play is almost trivial. My new argument is called "pause_length", (meaning "the length of the pause, in seconds, between adding each SinOsc"), so I get this modification: [pre] number_of_SinOscs.do( { arg time; secondPart_clock.sched( (1+(time*5)), { sounds = sounds.add( func.play ); } ); }); [/pre] Again, I changed the indentation, and the names of the variables in this sub-Function. Recall that the "1+" portion is designed to add a one-second pause to the start of the Function's execution. The problem comes in the next "do" loop, where we have to know how the number of beats from now will be five seconds after the last SinOsc is added. We'll have to calculate it, so I added a variable to store the value after it's calculated. This also allows us to return it, as a convenience to the Function that called this one, so that it knows how long until this Function is finished. Try adding this yourself, then testing t
he Function to ensure that it works. I got this: [pre] var t_c = TempoClock.default; var secondPart = { arg number_of_SinOscs = 10, pitch_low = 200, pitch_high = 800, pause_length = 5; var so = Array.new( number_of_SinOscs ); var when_to_stop = ( 1 + ( pause_length * number_of_SinOscs ) ); var func = { var freq = pitch_low + (pitch_high - pitch_low).rand; [ SinOsc.ar( freq:freq, mul:0.01), SinOsc.ar( freq:freq, mul:0.01) ]; }; number_of_SinOscs.do( { arg time; t_c.sched( (1+(time*5)), { so = so.add( func.play ); } ); }); t_c.sched( when_to_stop, { number_of_SinOscs.do( { arg index; so[index].free; } ); nil; }); when_to_stop; }; [/pre] I decided to "invert" the "free-ing" of the SinOsc's. Rather than scheduling number_of_SinOscs Function-calls at some point in the future, I decided to schedule one thing: a "do" loop that does the work. The indentation looks strange, but sometimes there's not much you can do about that. The "when_to_stop" variable must be the last thing in the
Function, so that the interpreter returns it to the Function's caller.
+ The change to the "do" loop which schedules the SinOsc's to play is almost trivial. My new argument is called "pause_length", (meaning "the length of the pause, in seconds, between adding each SinOsc"), so I get this modification: number_of_SinOscs.do(
+<pre class="programlisting">
+{
+ arg time;
+ secondPart_clock.sched( (1+(time*5)), { sounds = sounds.add( func.play ); } );
+});
+</pre>
+ Again, I changed the indentation, and the names of the variables in this sub-Function. Recall that the "1+" portion is designed to add a one-second pause to the start of the Function's execution. The problem comes in the next "do" loop, where we have to know how the number of beats from now will be five seconds after the last SinOsc is added. We'll have to calculate it, so I added a variable to store the value after it's calculated. This also allows us to return it, as a convenience to the Function that called this one, so that it knows how long until this Function is finished. Try adding this yourself, then testing the Function to ensure that it works. I got this:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+var secondPart =
+{
+ arg number_of_SinOscs = 10,
+ pitch_low = 200,
+ pitch_high = 800,
+ pause_length = 5;
+
+ var so = Array.new( number_of_SinOscs );
+
+ var when_to_stop = ( 1 + ( pause_length * number_of_SinOscs ) );
+
+ var func =
+ {
+ var freq = pitch_low + (pitch_high - pitch_low).rand;
+ [ SinOsc.ar( freq:freq, mul:0.01),
+ SinOsc.ar( freq:freq, mul:0.01) ];
+ };
+
+ number_of_SinOscs.do(
+ {
+ arg time;
+ t_c.sched( (1+(time*5)), { so = so.add( func.play ); } );
+ });
+
+ t_c.sched( when_to_stop,
+ {
+ number_of_SinOscs.do( { arg index; so[index].free; } );
+ nil;
+ });
+
+ when_to_stop;
+};
+</pre>
+ I decided to "invert" the "free-ing" of the SinOsc's. Rather than scheduling number_of_SinOscs Function-calls at some point in the future, I decided to schedule one thing: a "do" loop that does the work. The indentation looks strange, but sometimes there's not much you can do about that. The "when_to_stop" variable must be the last thing in the Function, so that the interpreter returns it to the Function's caller.
</div><div class="para">
- In order to retain the "bare minimum" robustness to be used elsewhere, we can't rely on the "TempoClock.default" clock having the tempo we expect, and we certainly can't rely on it being declared as "t_c". The solution is quite easy: create a new TempoClock within the Function. [pre] var t_c = TempoClock.new; // default tempo is one beat per second [/pre] We could hypothetically use the "SystemClock", since we're measuring time strictly in seconds. But, using a TempoClock is preferred for two reasons:
+ In order to retain the "bare minimum" robustness to be used elsewhere, we can't rely on the "TempoClock.default" clock having the tempo we expect, and we certainly can't rely on it being declared as "t_c". The solution is quite easy: create a new TempoClock within the Function.
+<pre class="programlisting">var t_c = TempoClock.new; // default tempo is one beat per second</pre>
+ We could hypothetically use the "SystemClock", since we're measuring time strictly in seconds. But, using a TempoClock is preferred for two reasons:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
It has the word "tempo" in its name, and it's designed for scheduling musical events; the "SystemClock" is for system events.
</div></li><li class="listitem"><div class="para">
@@ -4439,7 +6144,15 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ul></div>
</div></li></ol></li><li class="step" title="Step 7"><div class="para">
- Try to schedule the events for yourself, then test your program to make sure that it works as you intended. Here's what I wrote: [pre] t_c.sched( 1, { sound = Synth.new( \FirstPart ); } ); t_c.sched( 61, { sound.free; } ); t_c.sched( 61, { secondPart.value; nil; } ); t_c.sched( 113, { sound = Synth.new( \FirstPart ); } ); t_c.sched( 143, { sound.free; } ); [/pre] Why is the "nil" required after "secondPart"? Because that function returns a number. As you know, any scheduled function which returns a number will re-schedule itself to run that many beats after the previous execution began. Since "secondPart" returns the number of seconds it takes to finish, it will always be re-started as soon as it finishes. Including "nil" disallows this repetition.
+ Try to schedule the events for yourself, then test your program to make sure that it works as you intended. Here's what I wrote:
+<pre class="programlisting">
+t_c.sched( 1, { sound = Synth.new( \FirstPart ); } );
+t_c.sched( 61, { sound.free; } );
+t_c.sched( 61, { secondPart.value; nil; } );
+t_c.sched( 113, { sound = Synth.new( \FirstPart ); } );
+t_c.sched( 143, { sound.free; } );
+</pre>
+ Why is the "nil" required after "secondPart"? Because that function returns a number. As you know, any scheduled function which returns a number will re-schedule itself to run that many beats after the previous execution began. Since "secondPart" returns the number of seconds it takes to finish, it will always be re-started as soon as it finishes. Including "nil" disallows this repetition.
</div></li></ol></div></div></div><div xml:lang="en-US" class="section" title="11.6. Exporting Sound Files" id="sect-Musicians_Guide-SuperCollider-Exporting" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-SuperCollider-Exporting">11.6. Exporting Sound Files</h2></div></div></div><div class="para">
This section explains one way to record your SuperCollider programs, so that you can share them with friends who don't have SuperCollider on their computer.
</div><div class="section" title="11.6.1. Non-Real-Time Synthesis" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</h3></div></div></div><div class="para">
@@ -4521,7 +6234,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="section" title="12.4.1. Letters Are Pitches" id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</h3></div></div></div><div class="para">
One letter is all that's required to create a note in LilyPond. There are additional symbols and letters that are added to indicate further details, like the register, and whether the note is "sharp" or "flat."
</div><div class="para">
- 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!
+ 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: <code class="code">beses bes b bis bisis</code> 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!
</div><div class="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 <code class="literal">,</code> and <code class="literal">'</code> (comma and apostrophe) are used to indicate register.
</div><div class="para">
@@ -4583,7 +6296,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="12.4.5. Chords" id="sect-Musicians_Guide-LilyPond-Syntax-Chords"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</h3></div></div></div><div class="para">
Making use of the << and >> idea to indicate simultaneity, if a note has multiple pitches indicated between > and < then LilyPond assumes that they are in a chord together. Notating a single chord with single > < brackets has two advantages: firstly, it is easier to see that they are a chord and not something more complex; secondly, it allows you to enter information more clearly.
</div><div class="para">
- Consider the following examples, which should produce equivalent output: [pre]<<g'4->-5 b d>>[/pre] [pre]<g' b d>4->-5[/pre] With the first example, it is more difficult to see the chord notes, the duration, and what the "5" means. With the second example, it is easy to see that the chord notes are a G, a B, and a D, that they have quarter-note duration, and that the "5" is actually a fingering indication.
+ Consider the following examples, which should produce equivalent output: <code class="code"><<g'4->-5 b d>></code> and <code class="code"><g' b d>4->-5</code> With the first example, it is more difficult to see the chord notes, the duration, and what the <code class="literal">5</code> means. With the second example, it is easy to see that the chord notes are a G, a B, and a D, that they have quarter-note duration, and that the <code class="literal">5</code> is actually a fingering indication.
</div><div class="para">
There is another advantage to using < and > for notation of simple chords: they preserve logical continuity in "relative" mode. The following note will always be notated as relative to the lowest note in the chord, regardless of how many octaves the chord covers. This is not true with << and >>, where where following notes will be notated as relative to the last note between the << and >> .
</div></div><div class="section" title="12.4.6. Commands" id="sect-Musicians_Guide-LilyPond-Syntax-Commands"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Commands">12.4.6. Commands</h3></div></div></div><div class="para">
@@ -4691,7 +6404,25 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="section" title="12.4.7.1. Organizing Files, and Where to Put the Notes" id="sect-Musicians_Guide-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-">12.4.7.1. Organizing Files, and Where to Put the Notes</h4></div></div></div><div class="para">
LilyPond files are constructed as a series of commands. For better or worse, LilyPond's interpreter allows a great deal of flexibility when it comes to source file setup. This can lead to confusion about where things should be done, especially when using automated score-setup tools like Frescobaldi.
</div><div class="para">
- The generic structure of a LilyPond source file is this: [pre]\version "whatever_version" \header { things like title, composer, and so on } \score { \new Staff { notes can go here } \layout { } and so on }[/pre]
+ The generic structure of a LilyPond source file is this:
+<div class="literallayout"><p>\version "whatever_version"<br />
+ <br />
+ \header { things like title, composer, and so on }<br />
+ <br />
+ \score<br />
+ {<br />
+   \new Staff<br />
+ Â Â {<br />
+     notes can go here<br />
+ Â Â }<br />
+ Â Â <br />
+ Â Â \layout<br />
+ Â Â {<br />
+ Â Â }<br />
+ <br />
+   and so on<br />
+ }</p></div>
+
</div><div class="para">
Confusion arises here: for maximum flexibility, LilyPond allows source files to create its own commands. On hearing this, you may think, "Okay that's it - I don't need advanced commands or any of this stuff, so I'm packing it in and just using Finale!" There's no need to do that just yet - commands are easy! Think of commands - whether you wrote them or they were included with LilyPond - as a means of text-substition.
</div><div class="para">
@@ -4705,7 +6436,31 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
Frescobaldi (along with most LilyPond users) take advantage of this functionality to provide well-organized, easy-to-use source files.
</div><div class="para">
- Here is a good template source file, that might be created for you by Frescobaldi: [pre]\version "2.12.2" \header { title = "Example" } violin = \relative c'' { \key c \major \time 4/4 % Music follows here. } \score { \new Staff \with { instrumentName = "Violin" } \violin \layout { } }[/pre]
+ Here is a good template source file, that might be created for you by Frescobaldi:
+<div class="literallayout"><p>\version "2.12.2"<br />
+ <br />
+ \header<br />
+ {<br />
+   title = "Example"<br />
+ }<br />
+ <br />
+ violin = \relative c''<br />
+ {<br />
+   \key c \major<br />
+   \time 4/4<br />
+   % Music follows here.<br />
+ }<br />
+ <br />
+ \score<br />
+ {<br />
+   \new Staff \with<br />
+ Â Â Â Â {<br />
+       instrumentName = "Violin"<br />
+ Â Â Â Â }<br />
+ Â Â Â Â \violin<br />
+   \layout { }<br />
+ }</p></div>
+
</div><div class="para">
This source file makes use of many commands, and even defines "violin" for its own use. It may not be easy to see from this simple example, but keeping your notes separated from the formatting of a complex ''\score'' section will greatly improve the readability of both sections. Furthermore, you will easily be able to search through thousands of lines of source file to find the section that you want.
</div><div class="para">
@@ -4719,9 +6474,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
The octave-check symbols is <code class="code">=</code>. The symbol appears after the note, and is followed by a comma (<code class="code">,</code>), apostrophe (<code class="code">'</code>), or neither, depending on the intended relative octave of the pitch.
</div><div class="para">
- Here is an example use of the octave-check symbol: [pre]c'='''[/pre]. In this example, the absolute pitch is <code class="code">c'''</code>, which LilyPond knows because of the <code class="code">c</code> at the left, and the <code class="code">'''</code> after the <code class="code">=</code> symbol.
+ Here is an example use of the octave-check symbol: <code class="code">c'='''</code>. In this example, the absolute pitch is <code class="code">c'''</code>, which LilyPond knows because of the <code class="code">c</code> at the left, and the <code class="code">'''</code> after the <code class="code">=</code> symbol.
</div><div class="para">
- How does this example work: [pre]c'=4[/pre]? There is a <code class="code">4</code> after the <code class="code">=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code class="code">c</code>, which LilyPond knows because of the <code class="code">c</code> to the left of the <code class="code">=</code> symbol, and because there is no comma or apostrophe to the right of the <code class="code">=</code> symbol. LilyPond understands the <code class="code">4</code> as "quarter note."
+ How does this example work: <code class="code">c'=4</code> ? There is a <code class="code">4</code> after the <code class="code">=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code class="code">c</code>, which LilyPond knows because of the <code class="code">c</code> to the left of the <code class="code">=</code> symbol, and because there is no comma or apostrophe to the right of the <code class="code">=</code> symbol. LilyPond understands the <code class="code">4</code> as "quarter note."
</div><div class="para">
You should use the octave-check symbol when you need it. New users use the octave-check symbol more frequently than experienced users.
</div></div><div class="section" title="12.4.8.2. Bar-Check Symbol" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol">12.4.8.2. Bar-Check Symbol</h4></div></div></div><div class="para">
@@ -4729,9 +6484,17 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
The bar-check symbol is <code class="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.
</div><div class="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.
+ This example is correct, and will not trigger a warning:
+<div class="literallayout"><p>\time 4/4<br />
+ c4 c c c |<br />
+ c4 c c c |</p></div>
+ There are four quarter-notes between each bar-check symbol, which is the right number of beats.
</div><div class="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.
+ This example is incorrect, and will trigger a warning:
+<div class="literallayout"><p>\time 4/4<br />
+ c2 c c c |<br />
+ c4 c c c |</p></div>
+ 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.
</div><div class="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, so if you fix the first warning, the rest may disappear.
</div></div></div></div><div xml:lang="en-US" class="section" title="12.5. Working on a Counterpoint Exercise (Tutorial)" id="sect-Musicians_Guide-LilyPond-Counterpoint" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Counterpoint">12.5. Working on a Counterpoint Exercise (Tutorial)</h2></div></div></div><div class="para">
@@ -4900,7 +6663,14 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div></div><div class="section" title="12.6.3. Adjusting Frescobaldi's Output" id="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</h3></div></div></div><div class="para">
These steps are useful in establishing a consistent input style for LilyPond. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end.
</div><div class="para">
- When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way: [pre]version header widely-used settings like tempoMark and "global" individual parts score formatting[/pre] The specific ordering will become more obvious to you as you get used to LilyPond.
+ When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way:
+<div class="literallayout"><p>version<br />
+ header<br />
+ widely-used settings like tempoMark and "global"<br />
+ individual parts<br />
+ score formatting<br />
+</p></div>
+ The specific ordering will become more obvious to you as you get used to LilyPond.
</div><div class="para">
Here are some of the things that I do before inputting notes:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -4910,7 +6680,20 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
Add blank lines between large sections, to separate them more obviously
</div></li><li class="listitem"><div class="para">
- Begin braces on new lines, like [pre]\header { title = "Symphony" ... } [/pre] instead of on the same line, like [pre]\header { title = "Symphony" ... } [/pre] This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
+ Begin braces on new lines, like
+<div class="literallayout"><p>\header<br />
+ {<br />
+   title = "Symphony"<br />
+ Â Â ...<br />
+ }<br />
+</p></div>
+ instead of on the same line, like
+<div class="literallayout"><p>\header {<br />
+   title = "Symphony"<br />
+ Â Â ...<br />
+ }<br />
+</p></div>
+ This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
</div></li><li class="listitem"><div class="para">
Familiarize myself with the sections and commands created by Frescobaldi, getting a sense of what the section/command does (even if I don't understand what each specific command does). This makes it easier to sort out problems and customization down the road. Sometimes, when the setup is quite complex, I make comments about what seems to be going on.
</div></li><li class="listitem"><div class="para">
@@ -4996,7 +6779,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 2.e"><div class="para">
Slurs begin at ( and end at ). Add a slur from the g to c-sharp.
</div></li><li class="step" title="Step 2.f"><div class="para">
- Preview the score to make sure that you entered these articulations correctly. Your code should be: [pre]r8 d-. g-. bes-. d-. bes-. | g8( cis) cis4 r |[/pre]
+ Preview the score to make sure that you entered these articulations correctly. Your code should be:
+<div class="literallayout"><p>r8 d-. g-. bes-. d-. bes-. |<br />
+   g8( cis) cis4 r |</p></div>
</div></li></ol></li><li class="step" title="Step 3"><div class="para">
Now to add the "forte" marking. You can add text (or any object, for that matter) onto a note (or rest, etc.) with one of these three symbols:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -5018,7 +6803,10 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 8"><div class="para">
The "a 2" marking, meaning "to be played by two players," does need the text-in-quotes format, however. Put that marking ''above'' the d following the eighth rest.
</div></li><li class="step" title="Step 9"><div class="para">
- Those two measures should now look like this: [pre]r8\f d-.^"a 2" g-. bes-. d-. bes-. | g8( cis) cis4 r | [/pre] Note that <code class="code">d-.^"a 2"</code> gives the same result as <code class="code">d^"a 2"-.</code>
+ Those two measures should now look like this:
+<div class="literallayout"><p>r8\f d-.^"a 2" g-. bes-. d-. bes-. |<br />
+ g8( cis) cis4 r |</p></div>
+ Note that <code class="code">d-.^"a 2"</code> gives the same result as <code class="code">d^"a 2"-.</code>
</div></li></ol></div></div><div class="section" title="12.6.4.3. Oboe and Horn Parts" id="sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Oboe_and_Horn"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Oboe_and_Horn">12.6.4.3. Oboe and Horn Parts</h4></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
You can complete the oboe parts and the flute part. If you get stuck, read these tips.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -5071,16 +6859,16 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Anything between << and >> is interpreted by LilyPond as happening together. If you take a look at the "score" section at the bottom of the file, you will see that all of the parts are listed in that kind of bracket. This ensures that they all happen simultaneously.
</div></li><li class="listitem"><div class="para">
- For short-term polyphonic input, use the formula [pre]<< { upper-voice notes } \\ { lower-voice notes } >>[/pre]. Remember that the "upper voice" has upward-pointing stems, and the "lower voice" has downward-pointing stems.
+ For short-term polyphonic input, use the formula <code class="code"><< { upper-voice notes } \\ { lower-voice notes } >></code>. Remember that the "upper voice" has upward-pointing stems, and the "lower voice" has downward-pointing stems.
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
- Ties: These can be written by adding ~ to the end of the note beginning the tie: [pre]c4~ c8[/pre]
+ Ties: These can be written by adding ~ to the end of the note beginning the tie: <code class="code">c4~ c8</code>
</div></li><li class="listitem"><div class="para">
Grace Notes: These take up no logical time, and are smaller than ordinary notes. Any notes appearing <code class="code">\grace { in here }</code> would be considered grace notes.
</div></li><li class="listitem"><div class="para">
Crescendo and Diminuendo Markings:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with \< and a diminuendo with \>.
+ These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with <code class="code">\<</code> and a diminuendo with <code class="code">\></code>.
</div></li><li class="listitem"><div class="para">
The left-most point of the marking (its beginning) is indicated by where you put \< or \>
</div></li><li class="listitem"><div class="para">
@@ -5102,9 +6890,21 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="step" title="Step 3"><div class="para">
The code needed for this is a little bit complicated, but you don't need to write it yourself: just take it from the "tempoMark" section created by Frescobaldi. All you need to do is change "Adagio" to "Allegro spiritoso," and add the barline indicator. This is also easy because of Frescobaldi: 'LilyPond > Bar Lines > Repeat start'
</div></li><li class="step" title="Step 4"><div class="para">
- You end up with [pre]startExposition = { \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \once \override Score.RehearsalMark #'break-align-symbols = #'(time-signature key-signature) \mark \markup \bold "Allegro spiritoso" \bar "|:" } [/pre]
+ You end up with
+<div class="literallayout"><p>startExposition =<br />
+ {<br />
+   \once \override Score.RehearsalMark #'self-alignment-X = #LEFT<br />
+   \once \override Score.RehearsalMark #'break-align-symbols = #'(time-signature key-signature)<br />
+   \mark \markup \bold "Allegro spiritoso"<br />
+   \bar "|:"<br />
+ }</p></div>
</div></li><li class="step" title="Step 5"><div class="para">
- Add the reference to this in all of your parts. Because of how I named it, this also serves as a handy way to find your way through the LilyPond markup file. [pre] r4 r r\fermata | \startExposition R2.*4 | [/pre]
+ Add the reference to this in all of your parts. Because of how I named it, this also serves as a handy way to find your way through the LilyPond markup file.
+<div class="literallayout"><p>  r4 r r\fermata |<br />
+ Â Â <br />
+ Â Â \startExposition<br />
+ Â Â <br />
+ Â Â R2.*4Â |</p></div>
</div></li><li class="step" title="Step 6"><div class="para">
The barline and tempo-change will not appear unless you write some music after them, so put in some or all of the rests that follow, just to test it.
</div></li></ol></div></div></div></div><div xml:lang="en-US" class="section" title="12.7. Working on a Piano Score (Tutorial)" id="sect-Musicians_Guide-LilyPond-Piano" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-LilyPond-Piano">12.7. Working on a Piano Score (Tutorial)</h2></div></div></div><div class="para">
@@ -5156,7 +6956,13 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li></ol></div></div><div class="section" title="12.7.3. Adjusting Frescobaldi's Output" id="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Adjusting Frescobaldi's Output</h3></div></div></div><div class="para">
These steps are useful in establishing a consistent input style for LilyPond. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end.
</div><div class="para">
- When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way: [pre]version header widely-used settings like tempoMark and "global" individual parts score formatting[/pre] The specific ordering will become more obvious to you as you get used to LilyPond.
+ When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way:
+<div class="literallayout"><p>version<br />
+ header<br />
+ widely-used settings like tempoMark and "global"<br />
+ individual parts<br />
+ score formatting</p></div>
+ The specific ordering will become more obvious to you as you get used to LilyPond.
</div><div class="para">
Here are some of the things that I do before inputting notes:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -5166,7 +6972,18 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></li><li class="listitem"><div class="para">
Add blank lines between large sections, to separate them more obviously
</div></li><li class="listitem"><div class="para">
- Begin braces on new lines (as [pre]\header { title = "Impromptu" ... }[/pre]instead of on the same line (as [pre]\header { title = "Impromptu" ... }[/pre]This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
+ Begin braces on new lines (as
+<div class="literallayout"><p>\header<br />
+ {<br />
+   title = "Impromptu"<br />
+ Â Â ...<br />
+ }</p></div>
+ instead of on the same line (as
+<div class="literallayout"><p>\header {<br />
+   title = "Impromptu"<br />
+ Â Â ...<br />
+ }</p></div>
+ This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
</div></li><li class="listitem"><div class="para">
Familiarize myself with the sections and commands created by Frescobaldi, getting a sense of what the section/command does (even if I don't understand what each specific command does). This makes it easier to sort out problems and customization down the road. Sometimes, when the setup is quite complex, I make comments about what seems to be going on.
</div></li><li class="listitem"><div class="para">
@@ -5218,7 +7035,16 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
The <code class="code">\dimTextDim</code> and <code class="code">\dimHairpin</code> commands do the same for a ''diminuendo''.
</div></div><div class="section" title="12.7.4.6. Polyphonic Sections of Homophonic Music" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music">12.7.4.6. Polyphonic Sections of Homophonic Music</h4></div></div></div><div class="para">
- Sometimes, especially in piano music, a passage of some measures will require polyphonic (multi-Voice) notation in LilyPond, even though most of the music does not. In this case, you would use the following format: [pre]<< { % upper voice notes go here } \\ { % lower voice notes go here } >>[/pre] This is used a few times in both hands in the example score file.
+ Sometimes, especially in piano music, a passage of some measures will require polyphonic (multi-Voice) notation in LilyPond, even though most of the music does not. In this case, you would use the following format:
+<div class="literallayout"><p><<<br />
+ Â Â {<br />
+     % upper voice notes go here<br />
+ Â Â }Â \\<br />
+ Â Â {<br />
+     % lower voice notes go here<br />
+ Â Â }<br />
+ >></p></div>
+ This is used a few times in both hands in the example score file.
</div><div class="para">
When writing these sections in "relative" entry mode, it is a good idea to use the "octave-check" mechanism, at least at the beginning of the lower voice. This is because, when judging the relative starting pitch of the first note of the lower voice, LilyPond judges from the last note of the upper voice - ''not'' the last note before the polyphonic section began.
</div></div><div class="section" title="12.7.4.7. Octave-Change Spanners ("8ve" Signs, "Ottava Brackets")" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners">12.7.4.7. Octave-Change Spanners ("8ve" Signs, "Ottava Brackets")</h4></div></div></div><div class="para">
@@ -5260,11 +7086,54 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div><div class="para">
Follow these steps to create a "PianoDynamics" Context:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Between the left and right staves of the PianoStaff, add "<code class="code">\new PianoDynamics = "dynamics" \dynamics</code>". For the Schubert score, this looks like: [pre] \new PianoStaff \with { instrumentName = "Piano" } << \new Staff = "right" \right \new PianoDynamics = "dynamics" \dynamics \new Staff = "left" { \clef bass \left } >>[/pre]
+ Between the left and right staves of the PianoStaff, add "<code class="code">\new PianoDynamics = "dynamics" \dynamics</code>". For the Schubert score, this looks like: \new PianoStaff \with
+<div class="literallayout"><p>Â Â Â Â {<br />
+       instrumentName = "Piano"<br />
+ Â Â Â Â }<br />
+ Â Â <<<br />
+     \new Staff = "right" \right<br />
+     \new PianoDynamics = "dynamics" \dynamics<br />
+     \new Staff = "left" { \clef bass \left }<br />
+ Â Â >></p></div>
</div></li><li class="step" title="Step 2"><div class="para">
- To the layout section, add the following: [pre]% Everything below here is for the piano dynamics. % Define "PianoDynamics" context. \context { \type "Engraver_group" \name PianoDynamics \alias Voice \consists "Output_property_engraver" \consists "Script_engraver" \consists "New_dynamic_engraver" \consists "Dynamic_align_engraver" \consists "Text_engraver" \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" \override DynamicLineSpanner #'Y-offset = #0 \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) } % Modify "PianoStaff" context to accept Dynamics context. \context { \PianoStaff \accepts PianoDynamics } % End of PianoDynamics code.[/pre] This creates a "PianoDynamics" context, and modifies the "PianoStaff" context so that it will accept a "PianoDynamics" context.
+ To the layout section, add the following:
+<div class="literallayout"><p>    % Everything below here is for the piano dynamics.<br />
+     % Define "PianoDynamics" context.<br />
+     \context <br />
+ Â Â Â Â {<br />
+       \type "Engraver_group"<br />
+       \name PianoDynamics<br />
+       \alias Voice<br />
+       \consists "Output_property_engraver"<br />
+       \consists "Script_engraver"<br />
+       \consists "New_dynamic_engraver"<br />
+       \consists "Dynamic_align_engraver"<br />
+       \consists "Text_engraver"<br />
+       \consists "Skip_event_swallow_translator"<br />
+       \consists "Axis_group_engraver"<br />
+ Â Â Â Â Â Â <br />
+       \override DynamicLineSpanner #'Y-offset = #0<br />
+       \override TextScript #'font-size = #2<br />
+       \override TextScript #'font-shape = #'italic<br />
+       \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)<br />
+ Â Â Â Â }<br />
+ Â Â Â Â <br />
+     % Modify "PianoStaff" context to accept Dynamics context.<br />
+ Â Â Â Â \context<br />
+ Â Â Â Â {<br />
+ Â Â Â Â Â Â \PianoStaff<br />
+       \accepts PianoDynamics<br />
+ Â Â Â Â }<br />
+     % End of PianoDynamics code.</p></div>
+ This creates a "PianoDynamics" context, and modifies the "PianoStaff" context so that it will accept a "PianoDynamics" context.
</div></li><li class="step" title="Step 3"><div class="para">
- Before the "\score" section, add a section called "dynamics," like this:[pre]dynamics = { % Dynamics go here. }[/pre] This is where you will input the dynamics.
+ Before the "\score" section, add a section called "dynamics," like this:
+<div class="literallayout"><p>dynamics =<br />
+ {<br />
+   % Dynamics go here.<br />
+ Â Â <br />
+ }</p></div>
+ This is where you will input the dynamics.
</div></li></ol></div></div><div class="section" title="12.7.6.2. Inputting the Dynamics" id="sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics">12.7.6.2. Inputting the Dynamics</h4></div></div></div><div class="para">
Now you can input the dynamic markings. These are inputted with a special note called a "spacer," that uses the letter "s" rather than a note name. You can also use rests (both partial- and multi-measure, r and R), but dynamic markings cannot be assigned to them.
</div><div class="para">
@@ -5355,7 +7224,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</div></div><div class="section" title="14.1.3. Required Installation" id="sect-Musicians_Guide-Solfege-Install"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</h3></div></div></div><div class="para">
Please review the "Requirements" section above, before installation.
</div><div class="para">
- Use PackageKit, KPackageKit to install the <code class="code">solfege</code> package, or run [pre]su -c 'yum install solfege'[/pre] in a terminal.
+ Use PackageKit, KPackageKit to install the <span class="package">solfege</span> package.
</div></div><div class="section" title="14.1.4. Optional Installation: Csound" id="sect-Musicians_Guide-Solfege-Install_Csound"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</h3></div></div></div><div class="para">
Csound is a sound-synthesis program, similar to SuperCollider. It is older, quite well-developed, and has a broader range of features.
</div><div class="para">
@@ -5827,6 +7696,9 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
</td></tr><tr><td align="left">Revision 4</td><td align="left">Thu Aug 5 2010</td><td align="left"><span class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></span></td></tr><tr><td align="left" colspan="3">
<table border="0" summary="Simple list" class="simplelist"><tr><td>Added all external and internal links.</td></tr><tr><td>Added all images.</td></tr></table>
+ </td></tr><tr><td align="left">Revision 5</td><td align="left">Fri Aug 6 2010</td><td align="left"><span class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></span></td></tr><tr><td align="left" colspan="3">
+ <table border="0" summary="Simple list" class="simplelist"><tr><td>Re-formatted ex-<pre> tags.</td></tr><tr><td>Changed images to <inlinemediaobject>, where appropriate.</td></tr></table>
+
</td></tr></table></div>
- </div></div><div class="index" title="Index" id="id649534"><div class="titlepage"><div><div><h2 class="title">Index</h2></div></div></div><div class="index"><div class="indexdiv"><h3>F</h3><dl><dt>feedback</dt><dd><dl><dt>contact information for this manual, <a class="indexterm" href="#id787270">We Need Feedback!</a></dt></dl></dd></dl></div></div></div></div></body></html>
+ </div></div><div class="index" title="Index" id="id2337597"><div class="titlepage"><div><div><h2 class="title">Index</h2></div></div></div><div class="index"><div class="indexdiv"><h3>F</h3><dl><dt>feedback</dt><dd><dl><dt>contact information for this manual, <a class="indexterm" href="#id690734">We Need Feedback!</a></dt></dl></dd></dl></div></div></div></div></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/appe-Musicians_Guide-Revision_History.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/appe-Musicians_Guide-Revision_History.html
index ca6ba9c..7b24397 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/appe-Musicians_Guide-Revision_History.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/appe-Musicians_Guide-Revision_History.html
@@ -16,6 +16,9 @@
</td></tr><tr><td align="left">Revision 4</td><td align="left">Thu Aug 5 2010</td><td align="left"><span class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></span></td></tr><tr><td align="left" colspan="3">
<table border="0" summary="Simple list" class="simplelist"><tr><td>Added all external and internal links.</td></tr><tr><td>Added all images.</td></tr></table>
+ </td></tr><tr><td align="left">Revision 5</td><td align="left">Fri Aug 6 2010</td><td align="left"><span class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></span></td></tr><tr><td align="left" colspan="3">
+ <table border="0" summary="Simple list" class="simplelist"><tr><td>Re-formatted ex-<pre> tags.</td></tr><tr><td>Changed images to <inlinemediaobject>, where appropriate.</td></tr></table>
+
</td></tr></table></div>
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diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Ardour.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Ardour.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Ardour.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Ardour.html
@@ -1,13 +1,13 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 7. Ardour</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-DAW_Transport_Controls.html" title="6.4.5. Transport Controls" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it u
pgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-DAW_Transport_Controls.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 7. Ardour" id="chap-Musicians_Guide-Ardour" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 7. Ardour</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Insta
llation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running Ardour</a></span><
/dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to Ardour</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_Mor
e.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routing Audio and Managing JACK Connections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="secti
on"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Listen.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6.
Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></div><div class="para">
- Ardour is a feature-rich application designed for multi-track recording situations.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 7. Ardour</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-DAW_Transport_Controls.html" title="6.4.5. Transport Controls" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it u
pgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-DAW_Transport_Controls.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 7. Ardour" id="chap-Musicians_Guide-Ardour" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 7. Ardour</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Insta
llation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="appli
cation"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</
a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guid
e-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="se
ction"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-List
en.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></div><div class="para">
+ <span class="application"><strong>Ardour</strong></span> is a feature-rich application designed for multi-track recording situations.
</div><div class="section" title="7.1. Requirements and Installation" id="sect-Musicians_Guide-Ardour-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</h2></div></div></div><div class="section" title="7.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Ardour-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
- Ardour's user interface is similar to other DAWs. We recommend that you read <a class="xref" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
+ The <span class="application"><strong>Ardour</strong></span> user interface is similar to other DAWs. We recommend that you read <a class="xref" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface">Section 6.4, “User Interfaceâ€</a> if you have not used a DAW before.
</div></div><div class="section" title="7.1.2. Software Requirements" id="sect-Musicians_Guide-Ardour-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</h3></div></div></div><div class="para">
- Ardour uses the JACK Audio Connection Kit. You should install JACK before installing Ardour. Follow the instructions in <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> to install JACK.
+ <span class="application"><strong>Ardour</strong></span> uses the <code class="systemitem">JACK Audio Connection Kit</code>. You should install <code class="systemitem">JACK</code> before installing <span class="application"><strong>Ardour</strong></span>. Follow the instructions in <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> to install <code class="systemitem">JACK</code>.
</div></div><div class="section" title="7.1.3. Hardware Requirements" id="sect-Musicians_Guide-Ardour-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</h3></div></div></div><div class="para">
- You need an audio interface to use Ardour. If you will record audio with Ardour, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other JACK-aware programs like <code class="code">FluidSynth</code> and <code class="code">SuperCollider</code>.
+ You need an audio interface to use <span class="application"><strong>Ardour</strong></span>. If you will record audio with <span class="application"><strong>Ardour</strong></span>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <code class="systemitem">JACK</code>-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="7.1.4. Installation" id="sect-Musicians_Guide-Ardour-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</h3></div></div></div><div class="para">
- Use PackageKit or KPackageKit to install the "ardour" package. Other required software is installed automatically.
+ Use <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span> to install the <span class="package">ardour</span> package. Other required software is installed automatically.
</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-DAW_Transport_Controls.html"><strong>Prev</strong>6.4.5. Transport Controls</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html"><strong>Next</strong>7.2. Recording a Session</a></li></ul></body></html>
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@@ -1,6 +1,6 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 4. Planet CCRMA at Home</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt01.html" title="Part I. Linux Audio Basics" /><link rel="prev" href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html" title="3.5. Getting a Real-Time Kernel in Fedora Linux" /><link rel="next" href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html" title="4.2. Deciding Whether to Use Planet CCRMA at Home" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocfr
ame" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 4. Planet CCRMA at Home" id="chap-Musicians_Guide-Planet_CCRMA_at_Home" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 4. Planet CCRMA at Home</h2></div></div></div><div class="toc"><dl><dt><span class=
"section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"
><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Setting Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Preventing a Package from Being Updated</a></span></dt></dl></dd></dl></div><div class="section" title="4.1. About Planet CCRMA at Home" id="sect-Musicians_Guide-What_Is_Planet_CCRMA"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</h2></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 4. Planet CCRMA at Home</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt01.html" title="Part I. Linux Audio Basics" /><link rel="prev" href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html" title="3.5. Getting a Real-Time Kernel in Fedora Linux" /><link rel="next" href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html" title="4.2. Deciding Whether to Use Planet CCRMA at Home" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocfr
ame" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 4. Planet CCRMA at Home" id="chap-Musicians_Guide-Planet_CCRMA_at_Home" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 4. Planet CCRMA at Home</h2></div></div></div><div class="toc"><dl><dt><span class=
"section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"
><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></div><div class="section" title="4.1. About Planet CCRMA at Home" id="sect-Musicians_Guide-What_Is_Planet_CCRMA"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</h2></div></div></div><div class="para">
As stated on the project's home page, it is the goal of Planet CCRMA at Home to provide packages which will transform a Fedora Linux-based computer into an audio workstation. What this means is that, while the Fedora Project does an excellent job of providing a general-purpose operating system, a general purpose operating system is insufficient for audio work of the highest quality. The contributors to Planet CCRMA at Home provide software packages which can tune your system specifically for audio work.
</div><div class="para">
Users of GNU Solfege and LilyPond should not concern themselves with Planet CCRMA at Home, unless they also user other audio software. Neither Solfege nor LilyPond would benefit from a computer optimzed for audio production.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Qtractor.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Qtractor.html
index 5af1ee4..5da3baf 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Qtractor.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Qtractor.html
@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 8. Qtractor</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html" title="7.6.2.2. Choose the Export Format" /><link rel="next" href="sect-Musicians_Guide-Qtractor-Configuration.html" title="8.2. Configuration" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an ifr
ame, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Configuration.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 8. Qtractor" id="chap-Musicians_Guide-Qtractor" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 8. Qtractor</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Requirements_and_I
nstallation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html">8.2. Confi
guration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="s
ect-Musicians_Guide-Qtractor-Using-JACK.html">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Tips.html">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Requirements.html">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready.html">8.4.3. Getting Qtractor Read
y</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75.html">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97.h
tml">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measure_97.html">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176.html">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></div
><div class="para">
Qtractor is a relatively new application, created and maintained by the same developers who are responsible for QjackCtl and Qsynth (both covered in other chapters of this Guide). It offers much more flexibility than Audacity, but is still easier to use than Ardour or Rosegarden. As such, it serves as the perfect starting-point for people first discovering software-based DAWs.
</div><div class="para">
- But Qtractor is much more than just a starting-point: its simplicity is its greatest strength. Ardour and Rosegarden, may offer more features, but Qtractor takes much less time to learn. After the initial learning-curve, you will be able to complete almost every audio or MIDI project with Qtractor. Its interface offers simple, intuitive, point-and-click interaction with clips, integrated control of JACK connections, MIDI control integration with external devices and other MIDI-aware software, and support for <code class="code">LADSPA</code>, <code class="code">DSSI</code>, native <code class="code">VSTi</code>, and <code class="code">LV2</code> plug-ins. With development progressing very quickly, Qtractor is becoming more stable and usable by the minute. The simple interface allows you to focus on creating music to suit your creative needs.
+ But Qtractor is much more than just a starting-point: its simplicity is its greatest strength. Ardour and Rosegarden, may offer more features, but Qtractor takes much less time to learn. After the initial learning-curve, you will be able to complete almost every audio or MIDI project with Qtractor. Its interface offers simple, intuitive, point-and-click interaction with clips, integrated control of JACK connections, MIDI control integration with external devices and other MIDI-aware software, and support for LADSPA, DSSI, native VSTi, and LV2 plug-ins. With development progressing very quickly, Qtractor is becoming more stable and usable by the minute. The simple interface allows you to focus on creating music to suit your creative needs.
</div><div class="para">
Beginners and advanced users alike will be pleased to see how Qtractor can work for them.
</div><div class="section" title="8.1. Requirements and Installation" id="sect-Musicians_Guide-Qtractor-Requirements_and_Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</h2></div></div></div><div class="section" title="8.1.1. Knowledge Requirements" id="sect-Musicians_Guide-Qtractor-Knowledge_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</h3></div></div></div><div class="para">
@@ -11,9 +11,9 @@
</div></div><div class="section" title="8.1.2. Software Requirements" id="sect-Musicians_Guide-Qtractor-Software_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</h3></div></div></div><div class="para">
Qtractor uses the JACK Audio Connection Kit. You should install JACK before installing Qtractor. See <a class="xref" href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK" title="2.3.1. Installing and Configuring JACK">Section 2.3.1, “Installing and Configuring JACKâ€</a> for instructions to install JACK.
</div></div><div class="section" title="8.1.3. Hardware Requirements" id="sect-Musicians_Guide-Qtractor-Hardware_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</h3></div></div></div><div class="para">
- You need an audio interface to use Qtractor. If you will record audio with Qtractor, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other JACK-aware programs like <code class="code">FluidSynth</code> and <code class="code">SuperCollider</code>.
+ You need an audio interface to use Qtractor. If you will record audio with Qtractor, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other JACK-aware programs like <span class="application"><strong>FluidSynth</strong></span> and <span class="application"><strong>SuperCollider</strong></span>.
</div></div><div class="section" title="8.1.4. Other Requirements" id="sect-Musicians_Guide-Qtractor-Other_Requirements"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</h3></div></div></div><div class="para">
- You need a MIDI synthesizer to use Qtractor as a MIDI sequencer. You can use hardware-based and software-based synthesizers with Qtractor. We recommend using the software-based <code class="code">FluidSynth</code> MIDI synthesizer. See <a class="xref" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth">Chapter 10, <i>FluidSynth</i></a> for information about <code class="code">FluidSynth</code>.
+ You need a MIDI synthesizer to use Qtractor as a MIDI sequencer. You can use hardware-based and software-based synthesizers with Qtractor. We recommend using the software-based <span class="application"><strong>FluidSynth</strong></span> MIDI synthesizer. See <a class="xref" href="chap-Musicians_Guide-FluidSynth.html" title="Chapter 10. FluidSynth">Chapter 10, <i>FluidSynth</i></a> for information about <span class="application"><strong>FluidSynth</strong></span>.
</div></div><div class="section" title="8.1.5. Installation" id="sect-Musicians_Guide-Qtractor-Installation"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</h3></div></div></div><div class="para">
Qtractor is not available from the Fedora software repositories. Qtractor is available from the "Planet CCRMA at Home" and "RPM Fusion" repositories. If you have already enabled one of those repositories, you should install Qtractor from that repository. If you have not already enabled one of those repositories, we recommend that you install Qtractor from the "Planet CCRMA at Home" repository. See <a class="xref" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a> for instructions to enable the "Planet CCRMA at Home" repository. The "Planet CCRMA at Home" repository contains a wide variety of music and audio applications.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Solfege.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Solfege.html
index 647edd9..a5b8c3f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Solfege.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-Solfege.html
@@ -9,7 +9,7 @@
</div></div><div class="section" title="14.1.3. Required Installation" id="sect-Musicians_Guide-Solfege-Install"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</h3></div></div></div><div class="para">
Please review the "Requirements" section above, before installation.
</div><div class="para">
- Use PackageKit, KPackageKit to install the <code class="code">solfege</code> package, or run [pre]su -c 'yum install solfege'[/pre] in a terminal.
+ Use PackageKit, KPackageKit to install the <span class="package">solfege</span> package.
</div></div><div class="section" title="14.1.4. Optional Installation: Csound" id="sect-Musicians_Guide-Solfege-Install_Csound"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</h3></div></div></div><div class="para">
Csound is a sound-synthesis program, similar to SuperCollider. It is older, quite well-developed, and has a broader range of features.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-SuperCollider.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-SuperCollider.html
index 0691223..dd919b0 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-SuperCollider.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/chap-Musicians_Guide-SuperCollider.html
@@ -1,6 +1,6 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 11. SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html" title="10.7. Multiple FluidSynth Instances with Qsynth" /><link rel="next" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html" title="11.2. Requirements and Installation" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src=
"../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 11. SuperCollider" id="chap-Musicians_Guide-SuperCollider" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 11. SuperCollider</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCol
lider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_
Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.htm
l">11.4. Basic Programming in SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented SuperCollider</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><sp
an class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></sp
an></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.ht
ml">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span cl
ass="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Chapter 11. SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pt02.html" title="Part II. Audio and Music Software" /><link rel="prev" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html" title="10.7. Multiple FluidSynth Instances with Qsynth" /><link rel="next" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html" title="11.2. Requirements and Installation" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src=
"../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Requirements_and_Installation.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="chapter" title="Chapter 11. SuperCollider" id="chap-Musicians_Guide-SuperCollider" lang="en-US"><div class="titlepage"><div><div><h2 class="title">Chapter 11. SuperCollider</h2></div></div></div><div class="toc"><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCol
lider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_
Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.htm
l">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="se
ct-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="sect
ion"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></
dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians
_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></div><div class="para">
SuperCollider is many things, but above all:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
An audio synthesis engine,
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Musicians' Guide</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><meta name="description" content="This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage." /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="next" href="pref-Musicians_Guide-Preface.html" title="Preface" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This i
s an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"></li><li class="next"><a accesskey="n" href="pref-Musicians_Guide-Preface.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="book" title="Musicians' Guide" id="id1875911" lang="en-US"><div class="titlepage"><div><div class="producttitle" font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><span class="productname">Fedora Draft Documentation</span> <span class="productnumber"></span></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h1 id="id1875911" cla
ss="title">Musicians' Guide</h1></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h2 class="subtitle">A guide to Fedora Linux's audio creation and music capabilities.</h2></div><p class="edition">Edition 14.0.1</p><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h3 class="corpauthor">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Musicians' Guide</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><meta name="description" content="This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage." /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="next" href="pref-Musicians_Guide-Preface.html" title="Preface" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This i
s an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"></li><li class="next"><a accesskey="n" href="pref-Musicians_Guide-Preface.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="book" title="Musicians' Guide" id="id1872526" lang="en-US"><div class="titlepage"><div><div class="producttitle" font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><span class="productname">Fedora Draft Documentation</span> <span class="productnumber"></span></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h1 id="id1872526" cla
ss="title">Musicians' Guide</h1></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h2 class="subtitle">A guide to Fedora Linux's audio creation and music capabilities.</h2></div><p class="edition">Edition 14.0.1</p><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><h3 class="corpauthor">
<span class="inlinemediaobject"><object data="Common_Content/images/title_logo.svg" type="image/svg+xml"> </object></span>
- </h3></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div xml:lang="en-US" class="authorgroup" lang="en-US"><div class="author"><h3 class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></h3><div class="affiliation"><span class="orgname">Fedora Documentation Project</span></div><code class="email"><a class="email" href="mailto:crantila at fedoraproject.org">crantila at fedoraproject.org</a></code></div></div></div><hr /><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div id="id659964" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
+ </h3></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div xml:lang="en-US" class="authorgroup" lang="en-US"><div class="author"><h3 class="author"><span class="firstname">Christopher</span> <span class="surname">Antila</span></h3><div class="affiliation"><span class="orgname">Fedora Documentation Project</span></div><code class="email"><a class="email" href="mailto:crantila at fedoraproject.org">crantila at fedoraproject.org</a></code></div></div></div><hr /><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div id="id713906" class="legalnotice"><h1 class="legalnotice">Legal Notice</h1><div class="para">
Copyright <span class="trademark"></span>© 2010 Red Hat, Inc. and others.
</div><div class="para">
The text of and illustrations in this document are licensed by Red Hat under a Creative Commons Attribution–Share Alike 3.0 Unported license ("CC-BY-SA"). An explanation of CC-BY-SA is available at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>. The original authors of this document, and Red Hat, designate the Fedora Project as the "Attribution Party" for purposes of CC-BY-SA. In accordance with CC-BY-SA, if you distribute this document or an adaptation of it, you must provide the URL for the original version.
@@ -23,4 +23,4 @@
All other trademarks are the property of their respective owners.
</div></div></div><div font-family="sans-serif,Symbol,ZapfDingbats" font-weight="bold" font-size="12pt" text-align="center"><div class="abstract" title="Abstract"><h6>Abstract</h6><div class="para">
This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing a typical usage.
- </div></div></div></div><hr /></div><div class="toc"><dl><dt><span class="preface"><a href="pref-Musicians_Guide-Preface.html">Preface</a></span></dt><dd><dl><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id778851">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id840554">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id1009956">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id725613">1.3. Notes and Warnings</a></span></dt></dl></dd><dt><span class="section"><a href="pr01s02.html">2. We Need Feedback!</a></span></dt></dl></dd><dt><span class="part"><a href="pt01.html">I. Linux Audio Basics</a></span></dt><dd><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Sound_Cards.html">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class=
"section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-PCI_Sound_Cards.html">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FireWire_Sound_Cards.html">1.2.
3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-USB_Sound_Cards.html">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Choose_Sound_Card_Connection.html">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Format.html">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate.html">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_Rate.html">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a
href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Bus.html">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Level.html">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Time.html">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Voca
bulary-Synchronization.html">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Multichannel_Audio.html">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span
class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Using_QjackCtl.html">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span c
lass="section"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Processor_Scheduling.html">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet C
CRMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Install
ing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Setting Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Preventing a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="part"><a href="pt02.html">II. Audio and Music Software</a></span></dt><dd><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Audacity.html">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Audacity.html#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requireme
nts_and_Installation.html#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Hardware_Requirements.html">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation.html">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion.html">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Playback.html">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Recording.html">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section
"><a href="sect-Musicians_Guide-Audacity_Configuration.html#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware.html">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format.html">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Interface.html">5.4. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recordi
ng-Continuing_to_Record.html">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Scenario.html">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks.html">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks.html">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level.html">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-A
udacity-Tutorial-Remove_Noise.html">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Fade_Out.html">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio.html">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment.html">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser.html">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Conclusion.html">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export
.html#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mixing.html">6.2.2. Mixing</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-Mastering.html">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_and_Multitrack.html">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Region_Clip_Segment.html">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Session_Track_Region.html">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Transport_and_Playhead.html">6.3.5. T
ransport and Playhead</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Automation.html">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Clock.html">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Info_Pane.html">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Pane.html">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Transport_Controls.html">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Ardour.html">7. Ardour</a></sp
an></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><
span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running Ardour</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to Ardour</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide
-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routing Audio and Managing JACK Connections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class=
"section"><a href="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></s
pan></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="s
ect-Musicians_Guide-Ardour-Mixing-Listen.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Qtractor.html">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge
Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><
span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-JACK.html">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html">8.3.4. E
xporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Tips.html">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Requirements.html">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready.html">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="sect-Musicians
_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75.html">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97.html">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measure_97.html">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="se
ction"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176.html">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Rosegarden.html">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarde
n-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide
-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9.4.2. Add
a Percussion Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-FluidSynth.html">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a hre
f="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3. Installati
on with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="se
ct-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assign
ments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><
span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.4. Basic Programming in SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-B
asic_Programming-Object_Oriented.html">11.4.3. Object-Oriented SuperCollider</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="sectio
n"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Opti
mizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-LilyPond.html">12. LilyPond</a></span></dt><dd><dl><dt>
<span class="section"><a href="chap-Musicians_Guide-LilyPond.html#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a
></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the T
utorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href
="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Fr
escobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Frescobaldi.html">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Frescobaldi.html#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Installation.html">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Configuration.htm
l">13.3. Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Using.html">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Solfege.html">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a
href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Instruments.html">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-External_Programs.html">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-
Interface.html">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Practise.html">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Sound_Setup.html">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Exercise_Types.html">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="sec
t-Musicians_Guide-Solfege-Training-Supplementary_References.html">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Singing_Exercises.html">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Configure_Yourself_Exericses.html">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Rhythm_Exercises.html">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Dictation_Exercises.html">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Harmon
ic_Progressions.html">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Intonation.html">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="appendix"><a href="appe-Musicians_Guide-Revision_History.html">A. Revision History</a></span></dt><dt><span class="index"><a href="ix01.html">Index</a></span></dt></dl></div></div><ul class="docnav"><li class="previous"></li><li class="next"><a accesskey="n" href="pref-Musicians_Guide-Preface.html"><strong>Next</strong>Preface</a></li></ul></body></html>
+ </div></div></div></div><hr /></div><div class="toc"><dl><dt><span class="preface"><a href="pref-Musicians_Guide-Preface.html">Preface</a></span></dt><dd><dl><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id650034">1. Document Conventions</a></span></dt><dd><dl><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id720825">1.1. Typographic Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id774836">1.2. Pull-quote Conventions</a></span></dt><dt><span class="section"><a href="pref-Musicians_Guide-Preface.html#id624260">1.3. Notes and Warnings</a></span></dt></dl></dd><dt><span class="section"><a href="pr01s02.html">2. We Need Feedback!</a></span></dt></dl></dd><dt><span class="part"><a href="pt01.html">I. Linux Audio Basics</a></span></dt><dd><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Sound_Cards.html">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="
section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-PCI_Sound_Cards.html">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FireWire_Sound_Cards.html">1.2.3
. External FireWire Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-USB_Sound_Cards.html">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Choose_Sound_Card_Connection.html">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Format.html">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate.html">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_Rate.html">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a
href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Bus.html">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Level.html">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html">1.4.4. Panning and Balance</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Time.html">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocab
ulary-Synchronization.html">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Multichannel_Audio.html">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. Sound Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span
class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Using_QjackCtl.html">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span cl
ass="section"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Processor_Scheduling.html">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CC
RMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using Software from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installi
ng the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="part"><a href="pt02.html">II. Audio and Music Software</a></span></dt><dd><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Audacity.html">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Audacity.html#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_
Installation.html#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Hardware_Requirements.html">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation.html">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion.html">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Playback.html">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Recording.html">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a hre
f="sect-Musicians_Guide-Audacity_Configuration.html#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware.html">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format.html">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Interface.html">5.4. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording-Conti
nuing_to_Record.html">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Scenario.html">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks.html">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks.html">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level.html">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-
Tutorial-Remove_Noise.html">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Fade_Out.html">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio.html">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Segment.html">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser.html">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Conclusion.html">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html#se
ct-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mixing.html">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="sect-
Musicians_Guide-Mastering.html">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_and_Multitrack.html">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Region_Clip_Segment.html">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Session_Track_Region.html">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Transport_and_Playhead.html">6.3.5. Transport
and Playhead</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Automation.html">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Clock.html">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Info_Pane.html">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Pane.html">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Transport_Controls.html">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Ardour.html">7. Ardour</a></span></dt>
<dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><span cla
ss="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Rec
ording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.
html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Pl
aces</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-A
rdour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Listen.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Qtractor.html">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="
section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-
Qtractor-Configuration.html#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-JACK.html">8.3.3. Using JACK with Qtractor</a></span>
</dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Tips.html">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Requirements.html">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready.html">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutori
al-Import_the_Audio_File.html">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75.html">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97.html">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-Qtractor-Tutorial-Measure_97.html">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176.html">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Rosegarden.html">9. Rosegarden</
a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-R
osegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line<
/a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-FluidSynth.html">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Music
ians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><
span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide
-FluidSynth-Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a
href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requiremen
ts_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using
_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-
Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8.
Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.h
tml">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="sectio
n"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_Su
perColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-LilyPond.html">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-LilyPond.html#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="se
ct-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on
a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt
><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-M
usicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Frescobaldi.html">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Frescobaldi.html#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt
><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Installation.html">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Configuration.html">13.3. Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Using.html">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Solfege.html">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Other_Requirements"
>14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Instruments.html">14.2.2. Instruments</a></span></
dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-External_Programs.html">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Interface.html">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Practise.html">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Sound_Setup.html">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Exercise_Types.html">14.3.2. Exercise
Types</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Supplementary_References.html">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Singing_Exercises.html">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Configure_Yourself_Exericses.html">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Rhythm_Exercises.html"
>14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Dictation_Exercises.html">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Harmonic_Progressions.html">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Intonation.html">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></dd><dt><span class="appendix"><a href="appe-Musicians_Guide-Revision_History.html">A. Revision History</a></span></dt><dt><span class="index"><a href="ix01.html">Index</a></span></dt></dl></div></div><ul class="docnav"><li class="previous"></li><li class="next"><a accesskey="n" href="pref-Musicians_Guide-Preface.html"><strong>Next</strong>Preface</a></li></ul></body></html>
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
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diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pr01s02.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pr01s02.html
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2. We Need Feedback!</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pref-Musicians_Guide-Preface.html" title="Preface" /><link rel="prev" href="pref-Musicians_Guide-Preface.html" title="Preface" /><link rel="next" href="pt01.html" title="Part I. Linux Audio Basics" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a
class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="pref-Musicians_Guide-Preface.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pt01.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="2. We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id1008466">2. We Need Feedback!</h2></div></div></div><a id="id1008478" class="indexterm"></a><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2. We Need Feedback!</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="pref-Musicians_Guide-Preface.html" title="Preface" /><link rel="prev" href="pref-Musicians_Guide-Preface.html" title="Preface" /><link rel="next" href="pt01.html" title="Part I. Linux Audio Basics" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a
class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="pref-Musicians_Guide-Preface.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pt01.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="2. We Need Feedback!" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id956102">2. We Need Feedback!</h2></div></div></div><a id="id956113" class="indexterm"></a><div class="para">
If you find a typographical error in this manual, or if you have thought of a way to make this manual better, we would love to hear from you! Please submit a report in Bugzilla: <a href="http://bugzilla.redhat.com/bugzilla/">http://bugzilla.redhat.com/bugzilla/</a> against the product <span class="application"><strong>Fedora Documentation.</strong></span>
</div><div class="para">
When submitting a bug report, be sure to mention the manual's identifier: <em class="citetitle">musicians-guide</em>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pref-Musicians_Guide-Preface.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pref-Musicians_Guide-Preface.html
index e0df22f..2cdd6d3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pref-Musicians_Guide-Preface.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pref-Musicians_Guide-Preface.html
@@ -1,10 +1,10 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Preface</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="index.html" title="Musicians' Guide" /><link rel="next" href="pr01s02.html" title="2. We Need Feedback!" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.o
rg"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="index.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pr01s02.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="preface" title="Preface" id="pref-Musicians_Guide-Preface" lang="en-US"><div class="titlepage"><div><div><h1 class="title">Preface</h1></div></div></div><div xml:lang="en-US" class="section" title="1. Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id778851">1. Document Conventions</h2></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Preface</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="index.html" title="Musicians' Guide" /><link rel="next" href="pr01s02.html" title="2. We Need Feedback!" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.o
rg"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="index.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pr01s02.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="preface" title="Preface" id="pref-Musicians_Guide-Preface" lang="en-US"><div class="titlepage"><div><div><h1 class="title">Preface</h1></div></div></div><div xml:lang="en-US" class="section" title="1. Document Conventions" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="id650034">1. Document Conventions</h2></div></div></div><div class="para">
This manual uses several conventions to highlight certain words and phrases and draw attention to specific pieces of information.
</div><div class="para">
In PDF and paper editions, this manual uses typefaces drawn from the <a href="https://fedorahosted.org/liberation-fonts/">Liberation Fonts</a> set. The Liberation Fonts set is also used in HTML editions if the set is installed on your system. If not, alternative but equivalent typefaces are displayed. Note: Red Hat Enterprise Linux 5 and later includes the Liberation Fonts set by default.
- </div><div class="section" title="1.1. Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id840554">1.1. Typographic Conventions</h3></div></div></div><div class="para">
+ </div><div class="section" title="1.1. Typographic Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id720825">1.1. Typographic Conventions</h3></div></div></div><div class="para">
Four typographic conventions are used to call attention to specific words and phrases. These conventions, and the circumstances they apply to, are as follows.
</div><div class="para">
<code class="literal">Mono-spaced Bold</code>
@@ -52,7 +52,7 @@
Aside from standard usage for presenting the title of a work, italics denotes the first use of a new and important term. For example:
</div><div class="blockquote"><blockquote class="blockquote"><div class="para">
Publican is a <em class="firstterm">DocBook</em> publishing system.
- </div></blockquote></div></div><div class="section" title="1.2. Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id1009956">1.2. Pull-quote Conventions</h3></div></div></div><div class="para">
+ </div></blockquote></div></div><div class="section" title="1.2. Pull-quote Conventions"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id774836">1.2. Pull-quote Conventions</h3></div></div></div><div class="para">
Terminal output and source code listings are set off visually from the surrounding text.
</div><div class="para">
Output sent to a terminal is set in <code class="computeroutput">mono-spaced roman</code> and presented thus:
@@ -77,7 +77,7 @@ books_tests Desktop1 downloads images notes scripts svgs</pre><div cla
System.<span class="perl_Function">out</span>.<span class="perl_Function">println</span>(<span class="perl_String">"Echo.echo('Hello') = "</span> + echo.<span class="perl_Function">echo</span>(<span class="perl_String">"Hello"</span>));
}
-}</pre></div><div class="section" title="1.3. Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id725613">1.3. Notes and Warnings</h3></div></div></div><div class="para">
+}</pre></div><div class="section" title="1.3. Notes and Warnings"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="id624260">1.3. Notes and Warnings</h3></div></div></div><div class="para">
Finally, we use three visual styles to draw attention to information that might otherwise be overlooked.
</div><div class="note"><h2>Note</h2><div class="para">
Notes are tips, shortcuts or alternative approaches to the task at hand. Ignoring a note should have no negative consequences, but you might miss out on a trick that makes your life easier.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt01.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt01.html
index 9125f28..063c08c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt01.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/pt01.html
@@ -1,5 +1,5 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Part I. Linux Audio Basics</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="pr01s02.html" title="2. We Need Feedback!" /><link rel="next" href="chap-Musicians_Guide-Sound_Cards.html" title="Chapter 1. Sound Cards and Digital Audio" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</i
frame></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="pr01s02.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Sound_Cards.html"><strong>Next</strong></a></li></ul><div class="part" title="Part I. Linux Audio Basics" id="id738933"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part I. Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id738940"><div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Part I. Linux Audio Basics</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="pr01s02.html" title="2. We Need Feedback!" /><link rel="next" href="chap-Musicians_Guide-Sound_Cards.html" title="Chapter 1. Sound Cards and Digital Audio" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</i
frame></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="pr01s02.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Sound_Cards.html"><strong>Next</strong></a></li></ul><div class="part" title="Part I. Linux Audio Basics" id="id598158"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part I. Linux Audio Basics</h1></div></div></div><div class="partintro" title="Linux Audio Basics" id="id598165"><div></div><div class="para">
asdf
- </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Sound_Cards.html">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt>
<span class="section"><a href="sect-Musicians_Guide-PCI_Sound_Cards.html">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FireWire_Sound_Cards.html">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-USB_Sound_Cards.html">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Choose_Sound_Card_Connection.html">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Format.html">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-Sample_Rate.html">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_Rate.html">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Bus.html">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Level.html">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html">1.4.4. Panning and Balance</a
></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Time.html">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Synchronization.html">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Multichannel_Audio.html">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. So
und Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Using_QjackCtl.html">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating
PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Processor_Scheduling.html">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Planet_CCRM
A_at_Home.html">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using Soft
ware from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Setting Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Preventing a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="pr01s02.html"><strong>Prev</strong>2. We Need Feedback!</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Sound_Cards.html"><strong>Next</strong>Chap
ter 1. Sound Cards and Digital Audio</a></li></ul></body></html>
+ </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Sound_Cards.html">1. Sound Cards and Digital Audio</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-What_Sound_Cards_Are">1.1. Types of Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-Audio_Interfaces">1.1.1. Audio Interfaces</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Sound_Cards.html#sect-Musicians_Guide-MIDI_Interfaces">1.1.2. MIDI Interfaces</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html">1.2. Sound Card Connections</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Card_Connections.html#sect-Musicians_Guide-Motherboard_Integrated">1.2.1. Integrated into the Motherboard</a></span></dt><dt>
<span class="section"><a href="sect-Musicians_Guide-PCI_Sound_Cards.html">1.2.2. Internal PCI Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FireWire_Sound_Cards.html">1.2.3. External FireWire Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-USB_Sound_Cards.html">1.2.4. External USB Connection</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Choose_Sound_Card_Connection.html">1.2.5. Choosing a Connection Type</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html">1.3. Sample, Sample Rate, Sample Format, and Bit Rate</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html#sect-Musicians_Guide-Sample">1.3.1. Sample</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sample_Format.html">1.3.2. Sample Format</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-Sample_Rate.html">1.3.3. Sample Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_Rate.html">1.3.4. Bit Rate</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Bit_and_Sample_Rate_Conclusions.html">1.3.5. Conclusions</a></span></dt></dl></dd><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html">1.4. Other Digital Audio Concepts</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Vocabulary.html#sect-Musicians_Guide-Vocabulary-MIDI_Sequencer">1.4.1. MIDI Sequencer</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Bus.html">1.4.2. Busses, Master Bus, and Sub-Master Bus</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Level.html">1.4.3. Level (Volume/Loudness)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Panning_and_Balance.html">1.4.4. Panning and Balance</a
></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Time.html">1.4.5. Time, Timeline, and Time-Shifting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Synchronization.html">1.4.6. Synchronization</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html">1.4.7. Routing and Multiplexing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Multichannel_Audio.html">1.4.8. Multichannel Audio</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html">2. Software for Sound Cards</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-How_Computers_Deal_with_Hardware.html#sect-Musicians_Guide-Sound_Servers-ALSA">2.1. How Linux Deals with Audio Hardware</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html">2.2. So
und Servers</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers_Section.html#sect-Musicians_Guide-Sound_Servers-PulseAudio">2.2.1. PulseAudio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-JACK.html">2.2.2. JACK Audio Connection Kit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Sound_Servers-Phonon.html">2.2.3. Phonon</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html">2.3. Using the JACK Audio Connection Kit</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_JACK.html#sect-Musicians_Guide-Install_and_Configure_JACK">2.3.1. Installing and Configuring JACK</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Using_QjackCtl.html">2.3.2. Using QjackCtl</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html">2.3.3. Integrating
PulseAudio with JACK</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html">3. Real-Time and Low Latency</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html#sect-Musicians_Guide-Low_Latency">3.1. Why Low Latency Is Desirable</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Processor_Scheduling.html">3.2. Processor Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Real_Time_Linux_Kernel.html">3.3. The Real-Time Linux Kernel</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Hard_and_Soft_Real_Time.html">3.4. Hard and Soft Real-Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html">3.5. Getting a Real-Time Kernel in Fedora Linux</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Planet_CCRM
A_at_Home.html">4. Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html#sect-Musicians_Guide-What_Is_Planet_CCRMA">4.1. About Planet CCRMA at Home</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html">4.2. Deciding Whether to Use Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Knowing_Whether_to_Use_Planet_CCRMA.html#sect-Musicians_Guide-CCRMA_Need_Exclusive_Software">4.2.1. Exclusive Software</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Security_and_Stability.html">4.2.2. Security and Stability</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Best_Practices.html">4.2.3. A Possible "Best Practices" Solution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html">4.3. Using Soft
ware from Planet CCRMA at Home</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html">4.3.2. Set Repository Priorities</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html">4.3.3. Prevent a Package from Being Updated</a></span></dt></dl></dd></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="pr01s02.html"><strong>Prev</strong>2. We Need Feedback!</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Sound_Cards.html"><strong>Next</strong>Chapter 1.
 Sound Cards and Digital Audio</a></li></ul></body></html>
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Part II. Audio and Music Software</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html" title="4.3.3. Preventing a Package from Being Updated" /><link rel="next" href="chap-Musicians_Guide-Audacity.html" title="Chapter 5. Audacity" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to vi
ew it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Audacity.html"><strong>Next</strong></a></li></ul><div class="part" title="Part II. Audio and Music Software" id="id705127"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part II. Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id705134"><div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>Part II. Audio and Music Software</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="index.html" title="Musicians' Guide" /><link rel="prev" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html" title="4.3.3. Prevent a Package from Being Updated" /><link rel="next" href="chap-Musicians_Guide-Audacity.html" title="Chapter 5. Audacity" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view
it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Audacity.html"><strong>Next</strong></a></li></ul><div class="part" title="Part II. Audio and Music Software" id="id618123"><div class="titlepage"><div><div text-align="center"><h1 class="title">Part II. Audio and Music Software</h1></div></div></div><div class="partintro" title="Audio and Music Software" id="id618130"><div></div><div class="para">
asdf
- </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Audacity.html">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Audacity.html#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Hardware_Requirements.html">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation.html">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion.html">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Playback.html">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Recording.html">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware.html">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Fo
rmat.html">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Interface.html">5.4. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record.html">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="sectio
n"><a href="sect-Musicians_Guide-Audacity-Tutorial-Scenario.html">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks.html">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks.html">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level.html">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise.html">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Fade_Out.html">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio.html">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Se
gment.html">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser.html">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Conclusion.html">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class=
"section"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mixing.html">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mastering.html">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Voc
abulary.html#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_and_Multitrack.html">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Region_Clip_Segment.html">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Session_Track_Region.html">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Transport_and_Playhead.html">6.3.5. Transport and Playhead</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Automation.html">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a><
/span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Clock.html">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Info_Pane.html">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Pane.html">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Transport_Controls.html">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Ardour.html">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guid
e-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running Ardour</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html">7.2.3. Setting up
the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to Ardour</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routing Audio and Managing JACK Connections</a></span></dt><dt><span class="section"><a href="sect-Musici
ans_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><s
pan class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1. Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Gu
ide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Listen.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Qtractor.html">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qt
ractor.html#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span
class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-JACK.html">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Tips.html">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html">8.4. Creating a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.htm
l#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Requirements.html">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready.html">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a hr
ef="sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75.html">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97.html">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measure_97.html">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html">8.4.14. Qtractor's Measures 139 t
o 158</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176.html">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Rosegarden.html">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements<
/a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><s
pan class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html">9.4.5. Pos
sible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-FluidSynth.html">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Channels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.htm
l">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5. Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Te
rminal.html">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl><
/dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple FluidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">
11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Pac
kages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span><
/dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.4. Basic Programming in SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented SuperCollider</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class=
"section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></sp
an></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section out of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musi
cians_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-LilyPond.html">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-LilyPond.html#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></spa
n></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musici
ans_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputt
ing.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span cl
ass="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Pi
ano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Frescobaldi.html">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Frescobaldi.html#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Installation.html">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Configuration.html">13.3. Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Using.html">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Solfege.html">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requireme
nts and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html">14.2. Configuration</a></sp
an></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Instruments.html">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-External_Programs.html">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Interface.html">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Practise.html">14.2.5. Practise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Sound_Setup.html">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html">14.3. Training Yourself</a
></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Exercise_Types.html">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Supplementary_References.html">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening<
/a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Singing_Exercises.html">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Configure_Yourself_Exericses.html">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Rhythm_Exercises.html">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Dictation_Exercises.html">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Harmonic_Progressions.html">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Intonation.html">14.4.7. Intonation</a></span></dt></dl></dd></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Prev</strong>4.3.3. Preventing a Package from Being Updated</a>
</li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Audacity.html"><strong>Next</strong>Chapter 5. Audacity</a></li></ul></body></html>
+ </div><div class="toc"><p><b>Table of Contents</b></p><dl><dt><span class="chapter"><a href="chap-Musicians_Guide-Audacity.html">5. Audacity</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Audacity.html#sect-Musicians_Guide-Audacity-Knowing_When_to_Use">5.1. Kowing When to Use Audacity</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html">5.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Requirements_and_Installation.html#sect-Musicians_Guide-Audacity-Software_Requirements">5.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Hardware_Requirements.html">5.2.2. Hardware Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Installation.html">5.2.3. Standard Installation</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion.html">5.2.4. Installation with MP3 Support</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Playback.html">5.2.5. Post-Installation Test: Playback</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Testing_Recording.html">5.2.6. Post-Installation Test: Recording</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html">5.3. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity_Configuration.html#sect-Musicians_Guide-Audacity-First_Use">5.3.1. When You Run Audacity for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware.html">5.3.2. Configuring Audacity for Your Sound Card</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Fo
rmat.html">5.3.3. Setting the Project's Sample Rate and Format</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Interface.html">5.4. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html">5.5. Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording.html#sect-Musicians_Guide-Audacity-Recording-Start_to_Record">5.5.1. Start to Record</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Recording-Continuing_to_Record.html">5.5.2. Continue to Record</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html">5.6. Creating a New Login Sound (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial.html#sect-Musicians_Guide-Audacity-Tutorial-Files">5.6.1. Files for the Tutorial</a></span></dt><dt><span class="sectio
n"><a href="sect-Musicians_Guide-Audacity-Tutorial-Scenario.html">5.6.2. Scenario</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Aligning_Tracks.html">5.6.3. Align Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Stretching_Tracks.html">5.6.4. Stretching Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Adjust_Volume_Level.html">5.6.5. Adjust the Volume Level</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Remove_Noise.html">5.6.6. Remove Noise</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Fade_Out.html">5.6.7. Fade In or Out</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Removing_Audio.html">5.6.8. Remove Some Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Repeating_a_Se
gment.html">5.6.9. Repeat an Already-Recorded Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Using_the_Phaser.html">5.6.10. Add a Special Effect (the Phaser)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Tutorial-Conclusion.html">5.6.11. Conclusion</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html">5.7. Save and Export</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Save_and_Export.html#sect-Musicians_Guide-Audacity-Exporting_Part_of_a_File">5.7.1. Export Part of a File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Audacity-Exporting_a_Whole_File.html">5.7.2. Export a Whole File</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html">6. Digital Audio Workstations</a></span></dt><dd><dl><dt><span class=
"section"><a href="chap-Musicians_Guide-Digital_Audio_Workstations.html#sect-Musicians_Guide-Knowing_Which_DAW_to_Use">6.1. Knowing Which DAW to Use</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html">6.2. Stages of Recording</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Stages_of_Recording.html#sect-Musicians_Guide-Recording">6.2.1. Recording</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mixing.html">6.2.2. Mixing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Mastering.html">6.2.3. Mastering</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Record_Mix_Master_More_Info.html">6.2.4. More Information</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html">6.3. Interface Vocabulary</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Interface_Voc
abulary.html#sect-Musicians_Guide-Session">6.3.1. Session</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_and_Multitrack.html">6.3.2. Track and Multitrack</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Region_Clip_Segment.html">6.3.3. Region, Clip, or Segment</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Session_Track_Region.html">6.3.4. Relationship of Session, Track, and Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Transport_and_Playhead.html">6.3.5. Transport and Playhead</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Automation.html">6.3.6. Automation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html">6.4. User Interface</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-DAW_User_Interface.html#sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</a><
/span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Clock.html">6.4.2. Clock</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Info_Pane.html">6.4.3. "Track Info" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Track_Pane.html">6.4.4. "Track" Pane</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-DAW_Transport_Controls.html">6.4.5. Transport Controls</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Ardour.html">7. Ardour</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Requirements_and_Installation">7.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Knowledge_Requirements">7.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guid
e-Ardour.html#sect-Musicians_Guide-Ardour-Software_Requirements">7.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Hardware_Requirements">7.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Ardour.html#sect-Musicians_Guide-Ardour-Installation">7.1.4. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html">7.2. Recording a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording_a_Session.html#sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Interface.html">7.2.2. The Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recordin
g-Setting_up_the_Timeline.html">7.2.3. Setting up the Timeline</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html">7.2.5. Setting up the Busses and Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html">7.2.6. Adjusting Recording Level (Volume)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html">7.2.7. Recording a Region</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html">7.2.8. Recording More</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html">7.2.9. Routi
ng Audio and Managing <code class="systemitem">JACK</code> Connections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html">7.2.10. Importing Existing Audio</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Tutorial_Files.html">7.3. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html">7.4. Editing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing.html#sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html">7.4.2. Connect the Tracks and Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html">7.4.3. Creating Edit Groups</a></span></dt><dt><span class="
section"><a href="sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html">7.4.4. Add Regions to Tracks</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html">7.4.5. Cut the Regions Down to Size</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html">7.4.6. Compare Multiple Recordings of the Same Thing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Arrange.html">7.4.7. Arrange Regions into the Right Places</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Editing-Listen.html">7.4.8. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html">7.5. Mixing a Song (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing.html#sect-Musicians_Guide-Ardour-Mixing-Enabling_Stereo_Output">7.5.1.
Setting the Session for Stereo Output and Disabling Edit Groups</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Levels.html">7.5.2. Set Initial Levels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Set_Initial_Panning.html">7.5.3. Set Initial Panning</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Automation_Tracks.html">7.5.4. Make Further Adjustments with an Automation Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Other_Things.html">7.5.5. Other Things You Might Want to Do</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mixing-Listen.html">7.5.6. Listen</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.html">7.6. Mastering a Session</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering.ht
ml#sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html">7.6.2. Using the Export Window</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Qtractor.html">8. Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Requirements_and_Installation">8.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Knowledge_Requirements">8.1.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Software_Requirements">8.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qt
ractor-Hardware_Requirements">8.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Other_Requirements">8.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Qtractor.html#sect-Musicians_Guide-Qtractor-Installation">8.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html">8.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration.html#sect-Musicians_Guide-Qtractor-Configuration-Audio_Tab">8.2.1. Audio Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html">8.2.2. MIDI Options</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html">8.2.3. Configuring MIDI Channel Names</a></span></dt></dl></
dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html">8.3. Using Qtractor</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using.html#sect-Musicians_Guide-Qtractor-Using-Blue_Place_Markers">8.3.1. Using the Blue Place-Markers</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html">8.3.2. Using the MIDI Matrix Editor's Tools</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-JACK.html">8.3.3. Using JACK with Qtractor</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html">8.3.4. Exporting a Whole File (Audio and MIDI Together)</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Using-Tips.html">8.3.5. Miscellaneous Tips</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html">8.4. Creatin
g a MIDI Composition (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial.html#sect-Musicians_Guide-Qtractor-Tutorial-Inspiration">8.4.1. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Requirements.html">8.4.2. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Getting_Qtractor_Ready.html">8.4.3. Getting Qtractor Ready</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Import_the_Audio_File.html">8.4.4. Import the Audio File</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Marking_the_First_Formal_Area.html">8.4.5. Marking the First Formal Area</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Creating_our_Theme.html">8.4.6. Creating our Theme</a></span></dt><dt><span class="section"><a href="
sect-Musicians_Guide-Qtractor-Tutorial-Repeat_the_Theme.html">8.4.7. Repeat the Theme</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Compose_the_Next_Part.html">8.4.8. Compose the Next Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_52_to_75.html">8.4.9. Qtractor's Measures 52 to 75</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_75_to_97.html">8.4.10. Qtractor's Measures 75 to 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measure_97.html">8.4.11. Qtractor's Measure 97</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_98_to_119.html">8.4.12. Qtractor's Measures 98 to 119</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_119_to_139.html">8.4.13. Qtractor's Measures 119 to 139</a></span></dt><
dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_139_to_158.html">8.4.14. Qtractor's Measures 139 to 158</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_158_to_176.html">8.4.15. Qtractor's Measures 158 to 176</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Qtractor-Tutorial-Measures_177_to_the_End.html">8.4.16. Qtractor's Measures 177 to the End</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Rosegarden.html">9. Rosegarden</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Requirements_and_Installation">9.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Knowledge_Requirements">9.1.1. Knowledge Requirements</a></span></dt><dt><span class="section
"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Software_Requirements">9.1.2. Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Hardware_Requirements">9.1.3. Hardware Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Other_Requirements">9.1.4. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Rosegarden.html#sect-Musicians_Guide-Rosegarden-Installation">9.1.5. Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html">9.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Configuration.html#sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">9.2.1. Setup JACK and Qsynth</a></span></dt><dt><span class="sect
ion"><a href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html">9.2.2. Setup Rosegarden</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden_and_LilyPond.html">9.3. Rosegarden and LilyPond</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html">9.4. Write a Song in Rosegarden (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial.html#sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">9.4.1. Start the Score with a Bass Line</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Percussion_Track.html">9.4.2. Add a Percussion Track</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Spice_up_the_Percussion.html">9.4.3. Spice up the Percussion</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Melody.html">9.4.4. Add a
Melody</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Rosegarden-Tutorial-Ways_to_Continue.html">9.4.5. Possible Ways to Continue</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-FluidSynth.html">10. FluidSynth</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">10.1. SoundFont Technology and MIDI</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">10.1.1. How to Get a SoundFont</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Terms">10.1.2. MIDI Instruments, Banks, Programs, and Patches</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-FluidSynth.html#sect-Musicians_Guide-FluidSynth-MIDI_Channels">10.1.3. MIDI Ch
annels</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html">10.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Requirements_and_Installation.html#sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">10.2.1. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation.html">10.2.2. Thare Are Two Ways to Install FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth.html">10.2.3. Installation with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth.html">10.2.4. Installation without Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Req_and_Inst.html">10.2.5.
Installation of SoundFont Files</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-In_a_Terminal.html">10.3. Using FluidSynth in a Terminal</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html">10.4. Configuring Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring.html#sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">10.4.1. Starting FluidSynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont.html">10.4.2. SoundFont Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output.html">10.4.3. JACK Output Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input.html">10.4.4. MIDI Input Configuration</a></span></dt><dt><span class="section"><a href="
sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings.html">10.4.5. Viewing all FluidSynth Settings</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html">10.5. Assigning Programs to Channels with Qsynth</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Assigning_Programs_to_Channels.html#sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">10.5.1. Changing the Number of MIDI Input Channels</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Saving_and_Reusing_Channel_Assignments.html">10.5.2. Saving and Reusing Channel Assignments</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus.html">10.6. Using Reverb and Chorus with Qsynth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-FluidSynth-Multiple_Instances.html">10.7. Multiple Fl
uidSynth Instances with Qsynth</a></span></dt></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-SuperCollider.html">11. SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-SuperCollider.html#sect-Musicians_Guide-SC-Technical_Convetions">11.1. Technical Conventions for This Chapter</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html">11.2. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Requirements_and_Installation.html#sect-Musicians_Guide-SC-Req_and_Inst-Knowledge">11.2.1. Knowledge Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Software_Requirements.html">11.2.2. Software Requirements</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Hardware_Requirements.html">11.2.3. Hardware Requirements</a></span></dt><dt
><span class="section"><a href="sect-Musicians_Guide-SC-SC-Req_and_Inst-Available_Packages.html">11.2.4. Available SuperCollider Packages</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html">11.2.5. Recommended Installation</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html">11.3. Using GEdit to Write and Run SuperCollider Programs</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit.html#sect-Musicians_Guide-SC-Using_GEdit-Enable_and_Configure_SCEd">11.3.1. Enable and Configure SCEd in GEdit</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html">11.3.2. Enable SuperCollider Mode and Start a Server</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html">11.3.3. Executing Code in GEdit</a></span></dt><dt><span class="sect
ion"><a href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html">11.3.4. Other Tips for Using GEdit with SuperCollider</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html#sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html">11.4.2. Variables and Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functi
ons.html">11.4.4. Sound-Making Functions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html">11.4.5. Multichannel Audio</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html">11.4.6. Collections</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html">11.4.7. Repeated Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html">11.4.8. Conditional Execution</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html">11.4.9. Combining Audio; the Mix Class</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html">11.4.10. SynthDef and Synth</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programmi
ng-Busses.html">11.4.11. Busses</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html">11.4.12. Ordering and Other Synth Features</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html">11.4.13. Scheduling</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html">11.4.14. How to Get Help</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html">11.4.15. Legal Attribution</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html">11.5. Composing with SuperCollider</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Composing.html#sect-Musicians_Guide-SC-Composing-Tutorial_Files">11.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a h
ref="sect-Musicians_Guide-SC-Composing-Inspiration.html">11.5.2. Inspiration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html">11.5.3. Designing the First Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html">11.5.4. Designing the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html">11.5.5. Creating Ten Pseudo-Random Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html">11.5.6. Scheduling the Tones</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html">11.5.7. Optimizing the Code</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html">11.5.8. Making a Useful Section ou
t of the Second Part</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html">11.5.9. Joining the Two Parts</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html">11.6. Exporting Sound Files</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-SuperCollider-Exporting.html#sect-Musicians_Guide-SC-Non_Real_Time_Synthesis">11.6.1. Non-Real-Time Synthesis</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-SC-Recording_SuperColliders_Output.html">11.6.2. Recording SuperCollider's Output (Tutorial)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-LilyPond.html">12. LilyPond</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-LilyPond.html#sect-Musicians_Guide-LilyPond-How_LilyPond_Works">12.1. How LilyPond Works</a></span></dt><dt><span class="section"><a hre
f="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach.html">12.2. The LilyPond Approach</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Installation.html">12.3. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html">12.4. LilyPond Basics</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax.html#sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations.html">12.4.2. Numbers Are Durations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Articulations.html">12.4.3. Articulations</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html">12.4.4. Simultaneity</a></span></dt><dt><span class="section"><a href="sect-Musician
s_Guide-LilyPond-Syntax-Chords.html">12.4.5. Chords</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html">12.4.6. Commands</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html">12.4.7. Source Files and Their Formatting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html">12.4.8. Avoiding Errors</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html">12.5. Working on a Counterpoint Exercise (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint.html#sect-Musicians_Guide-LilyPond-Counterpoint-Tutorial_Files">12.5.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Starting_the_Score.html">12.5.2. Starting the Score</a></span></dt><dt><span class="sec
tion"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Adjusting_Frescobaldis_Output.html">12.5.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Inputting.html">12.5.4. Inputting</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Counterpoint-Formatting_the_Score.html">12.5.5. Formatting the Score</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html">12.6. Working on an Orchestral Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra.html#sect-Musicians_Guide-LilyPond-Orchestra-Tutorial_Files">12.6.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html">12.6.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Adju
sting_Frescobaldis_Output.html">12.6.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html">12.6.4. Inputting</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html">12.7. Working on a Piano Score (Tutorial)</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano.html#sect-Musicians_Guide-LilyPond-Piano-Tutorial_Files">12.7.1. Files for the Tutorial</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html">12.7.2. Starting the Score</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html">12.7.3. Adjusting Frescobaldi's Output</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html">12.7.4. Inputting</a></span></dt><dt><span class="section"><a href=
"sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html">12.7.5. Troubleshooting Errors</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-LilyPond-Piano-Formatting.html">12.7.6. Formatting the Score (Piano Dynamics)</a></span></dt></dl></dd></dl></dd><dt><span class="chapter"><a href="chap-Musicians_Guide-Frescobaldi.html">13. Frescobaldi</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Frescobaldi.html#sect-Musicians_Guide-Frescobaldi-Makes_LilyPond_Easier">13.1. Frescobaldi Makes LilyPond Easier</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Installation.html">13.2. Requirements and Installation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Configuration.html">13.3. Configuration</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Frescobaldi-Using.html">13.4. Using Frescobaldi</a></span></dt></dl></dd><dt><span class="chap
ter"><a href="chap-Musicians_Guide-Solfege.html">14. GNU Solfege</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Requirements_and_Installation">14.1. Requirements and Installation</a></span></dt><dd><dl><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Hardware_and_Software_Requirements">14.1.1. Hardware and Software Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Other_Requirements">14.1.2. Other Requirements</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install">14.1.3. Required Installation</a></span></dt><dt><span class="section"><a href="chap-Musicians_Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_Csound">14.1.4. Optional Installation: Csound</a></span></dt><dt><span class="section"><a href="chap-Musicians_
Guide-Solfege.html#sect-Musicians_Guide-Solfege-Install_MMA">14.1.5. Optional Installation: MMA</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html">14.2. Configuration</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration.html#sect-Musicians_Guide-Solfege-Configuration-First_Time">14.2.1. When You Run Solfege for the First Time</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Instruments.html">14.2.2. Instruments</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-External_Programs.html">14.2.3. External Programs</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Interface.html">14.2.4. Interface</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Practise.html">14.2.5. Practise</a></span></dt><dt><span clas
s="section"><a href="sect-Musicians_Guide-Solfege-Configuration-Sound_Setup.html">14.2.6. Sound Setup</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html">14.3. Training Yourself</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training.html#sect-Musicians_Guide-Solfege-Training-Aural_Skilla_and_Musical_Sensibility">14.3.1. Aural Skills and Musical Sensibility</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Exercise_Types.html">14.3.2. Exercise Types</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Making_an_Aural_Skills_Program.html">14.3.3. Making an Aural Skills Program</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Training-Supplementary_References.html">14.3.4. Supplementary References</a></span></dt></dl></dd><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-
Using_the_Exercises.html">14.4. Using the Exercises</a></span></dt><dd><dl><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Using_the_Exercises.html#sect-Musicians_Guide-Solfege-Listening_Exercises">14.4.1. Listening</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Singing_Exercises.html">14.4.2. Singing</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Configure_Yourself_Exericses.html">14.4.3. Configure Yourself</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Rhythm_Exercises.html">14.4.4. Rhythm</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Dictation_Exercises.html">14.4.5. Dictation</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Harmonic_Progressions.html">14.4.6. Harmonic Progressions</a></span></dt><dt><span class="section"><a href="sect-Musicians_Guide-Solfege-Intonation.html">14.4.7. Intonation</a></span></dt></dl><
/dd></dl></dd></dl></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Prev</strong>4.3.3. Prevent a Package from Being Updated</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Audacity.html"><strong>Next</strong>Chapter 5. Audacity</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html
index 4b52797..194c874 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Add_Regions_to_Tracks.html
@@ -13,7 +13,7 @@
</div><div class="para">
You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added ("Marimba_1" regions before "Marimba_2"), and a letter "L" or "R" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with "ens-" belong on the "voice" tracks ("ens" is short for "ensemble," meaning that those regions contain a small vocal ensemble, whereas the "Voice... " regions contain just one singer). The "Here_Is_How" regions belong before the "Create_the_Inconceivable" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit and mix the song. We don't
need to use the "marimba2" tracks or bus yet, so just add all of the "Marimba_" regions to the "marimba1" tracks.
</div><div class="para">
- As you add the regions, you will learn a lot about manipulating regions in Ardour. Here are some tips to help:
+ As you add the regions, you will learn a lot about manipulating regions in <span class="application"><strong>Ardour</strong></span>. Here are some tips to help:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Arrange.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Arrange.html
index 3ac1978..ace4f85 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Arrange.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Arrange.html
@@ -10,7 +10,7 @@
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu.
</div></li><li class="listitem"><div class="para">
- Notice that Ardour puts > and < around the name of the region, in the canvas area.
+ Notice that <span class="application"><strong>Ardour</strong></span> puts > and < around the name of the region, in the canvas area.
</div></li><li class="listitem"><div class="para">
Also notice that you can no longer move the region with the "Select/Move Objects" tool.
</div></li></ol></div>
@@ -38,7 +38,7 @@
</div></li><li class="listitem"><div class="para">
No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do.
</div></li><li class="listitem"><div class="para">
- Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - Ardour will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between.
+ Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <span class="application"><strong>Ardour</strong></span> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between.
</div></li><li class="listitem"><div class="para">
Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically "snap" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines.
</div></li></ul></div>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Clarinet_3_and_4.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Clarinet_3_and_4.html
index 9c343a2..de30a1c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Clarinet_3_and_4.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Clarinet_3_and_4.html
@@ -11,7 +11,7 @@
</div></li><li class="listitem"><div class="para">
Click and drag the mouse over the "Clarinet_1"-like region in one of the tracks, to select them.
</div></li><li class="listitem"><div class="para">
- Because of the edit group, Ardour will automatically select the same area of both tracks.
+ Because of the edit group, <span class="application"><strong>Ardour</strong></span> will automatically select the same area of both tracks.
</div></li><li class="listitem"><div class="para">
We have to be sure to select all of the "Clarinet_1"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Create_the_Inconceivable.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Create_the_Inconceivable.html
index 242212d..f3524f7 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Create_the_Inconceivable.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Create_the_Inconceivable.html
@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.4.6.7. ens-Create_the_Inconceivable Regions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings.html" title="7.4.6. Compare Multiple Recordings of the Same Thing" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Here_Is_How.html" title="7.4.6.6. ens-Here_Is_How Regions" /><link rel="next" href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Marimba.html" title="7.4.6.8. Marimba Regio
ns" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Here_Is_How.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Marimba.html"><strong>Next</strong></a></li></ul><div class="section" title="7.4.6.7. ens-Create_the_Inconceivable Regions" id="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Create_the_In
conceivable"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Create_the_Inconceivable">7.4.6.7. ens-Create_the_Inconceivable Regions</h4></div></div></div><div class="para">
There are two takes of the same material in this region.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because Ardour won't delete the material that you remove by trimming the region.
+ Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <span class="application"><strong>Ardour</strong></span> will not delete the material that you remove by trimming the region.
</div></li><li class="listitem"><div class="para">
Use the range tool to select the range which includes the take that you prefer.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Voice.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Voice.html
index c7a0ba5..7faf300 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Voice.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Compare_Multiple_Recordings-Voice.html
@@ -31,7 +31,7 @@
</div></li><li class="listitem"><div class="para">
When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu.
</div></li><li class="listitem"><div class="para">
- Ardour will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured "Voice_2--L" and "Voice_2--R" regions.
+ <span class="application"><strong>Ardour</strong></span> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured "Voice_2--L" and "Voice_2--R" regions.
</div></li><li class="listitem"><div class="para">
Trim the rest of the original Voice_2 region, so that it starts with "golden," and does not contain any of the previous word ("flax-"). You don't need to use the range tool, but you can if you wish.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html
index 7b20646..dfbaa85 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.4.2. Connect the Tracks and Busses</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Editing.html" title="7.4. Editing a Song (Tutorial)" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Editing.html" title="7.4. Editing a Song (Tutorial)" /><link rel="next" href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html" title="7.4.3. Creating Edit Groups" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../..
/../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Editing.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html"><strong>Next</strong></a></li></ul><div class="section" title="7.4.2. Connect the Tracks and Busses" id="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Editing-Connect_Tracks_and_Busses">7.4.2. Connect the Tracks and Busses</h3></div></div>
</div><div class="para">
- Although we have created a system of busses in our mind, we still haven't told Ardour about it. You can use QjackCtl to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting Ardour know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest.
+ Although we have created a system of busses in our mind, we still have not told <span class="application"><strong>Ardour</strong></span> about it. You can use <span class="application"><strong>QjackCtl</strong></span> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <span class="application"><strong>Ardour</strong></span> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest.
</div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
One way to connect tracks and busses is more suitable for small-scale connection changes.
@@ -28,9 +28,9 @@
</div></li><li class="listitem"><div class="para">
Clicking a connection in this list will remove it.
</div></li><li class="listitem"><div class="para">
- The right side, labeled "Available connections," contains a list of all of the inputs offered by JACK.
+ The right side, labeled "Available connections," contains a list of all of the inputs offered by <code class="systemitem">JACK</code>.
</div></li><li class="listitem"><div class="para">
- Each JACK-aware application has a tab with its connections listed underneath.
+ Each <code class="systemitem">JACK</code>-aware application has a tab with its connections listed underneath.
</div></li><li class="listitem"><div class="para">
Clicking a connection in this list will add it to the last-selected output channel.
</div></li></ul></div>
@@ -54,7 +54,7 @@
</div></li><li class="listitem"><div class="para">
The other way to change connections is much faster for large-scale changes like the ones required here.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- From the menu, select 'Window > Track/Bus Inspector'
+ Choose <span class="guimenu"><strong>Window</strong></span> → <span class="guimenuitem"><strong>Track/Bus Inspector</strong></span>.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
The "Track/Bus Inspector" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side.
</div></li><li class="listitem"><div class="para">
@@ -82,5 +82,6 @@
</div></li></ol></div>
</div></li></ol></div>
- [[File:FMG-Ardour-Connections.png]]
+ <span class="inlinemediaobject"><img src="./images/FMG-Ardour-Connections.png" width="444" /></span>
+
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Editing.html"><strong>Prev</strong>7.4. Editing a Song (Tutorial)</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Editing-Edit_Groups.html"><strong>Next</strong>7.4.3. Creating Edit Groups</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html
index 180aee2..c5c6c59 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing-Cut_Regions_Down_to_Size.html
@@ -13,17 +13,17 @@
</div></li><li class="listitem"><div class="para">
If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!
</div></li><li class="listitem"><div class="para">
- Choose either the "L" or "R" region. If you're using edit groups, it doesn't matter which you choose, because Ardour will realize that the regions in both tracks are "group equivalent" (that is, they're basically the same, so they probably belong together).
+ Choose either the "L" or "R" region. If you're using edit groups, it doesn't matter which you choose, because <span class="application"><strong>Ardour</strong></span> will realize that the regions in both tracks are "group equivalent" (that is, they're basically the same, so they probably belong together).
</div></li><li class="listitem"><div class="para">
Use the mouse to click in the coloured bar of the region, close to where the clarinet starts.
</div></li><li class="listitem"><div class="para">
- Ardour will automatically move the start of the region ''in both tracks''.
+ <span class="application"><strong>Ardour</strong></span> will automatically move the start of the region ''in both tracks''.
</div></li><li class="listitem"><div class="para">
Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio.
</div></li><li class="listitem"><div class="para">
If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's "non-destructive," meaning that the entire original region is still there!
</div></li><li class="listitem"><div class="para">
- Notice that when you made the first adjustment, Ardour put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. Ardour wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can ''also'' be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like Ardour stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many.
+ Notice that when you made the first adjustment, <span class="application"><strong>Ardour</strong></span> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <span class="application"><strong>Ardour</strong></span> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can ''also'' be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <span class="application"><strong>Ardour</strong></span> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many.
</div></li><li class="listitem"><div class="para">
Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag.
</div></li></ol></div>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing.html
index 1a44aac..25043f8 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Editing.html
@@ -5,7 +5,7 @@
</div><div class="para">
To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <a class="xref" href="sect-Musicians_Guide-Ardour-Tutorial_Files.html" title="7.3. Files for the Tutorial">Section 7.3, “Files for the Tutorialâ€</a>.
</div><div class="section" title="7.4.1. Add Tracks and Busses" id="sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Editing-Add_Tracks_and_Busses">7.4.1. Add Tracks and Busses</h3></div></div></div><div class="para">
- The program used to record these tracks was configured to record onto a separate track for the left and right channels, so Ardour will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within Ardour.
+ The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <span class="application"><strong>Ardour</strong></span> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <span class="application"><strong>Ardour</strong></span>.
</div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
There is already a master bus, named "master". All audio being outputted should be fed through this bus.
@@ -30,7 +30,7 @@
</div></li><li class="listitem"><div class="para">
The box will turn into a text-editing box. Erase the contents, and write the new name.
</div></li><li class="listitem"><div class="para">
- When you have entered the new name, press "Enter" on the keyboard to set it in Ardour.
+ When you have entered the new name, press "Enter" on the keyboard to set it in <span class="application"><strong>Ardour</strong></span>.
</div></li><li class="listitem"><div class="para">
The box will no longer be a text-editing box.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html
index 2f69c82..0b382e6 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.6.2.2. Choose the Export Format</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html" title="7.6.2. Using the Export Window" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html" title="7.6.2. Using the Export Window" /><link rel="next" href="chap-Musicians_Guide-Qtractor.html" title="Chapter 8. Qtractor" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="to
c" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Qtractor.html"><strong>Next</strong></a></li></ul><div class="section" title="7.6.2.2. Choose the Export Format" id="sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format">7.6.2.2. Choose the Export Format</h4>
</div></div></div><div class="para">
- Ardour offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. Fedora Linux does not support MP3 files by default, for legal reasons. For more information, refer to <em class="citetitle">MP3 (Fedora Project Wiki)</em> <a href="http://fedoraproject.org/wiki/Multimedia/MP3">http://fedoraproject.org/wiki/Multimedia/MP3</a>.
+ <span class="application"><strong>Ardour</strong></span> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. Fedora Linux does not support MP3 files by default, for legal reasons. For more information, refer to <em class="citetitle">MP3 (Fedora Project Wiki)</em> <a href="http://fedoraproject.org/wiki/Multimedia/MP3">http://fedoraproject.org/wiki/Multimedia/MP3</a>.
</div><div class="para">
The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html
index bc769de..f00a001 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html
@@ -3,5 +3,5 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.6.2. Using the Export Window</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Mastering.html" title="7.6. Mastering a Session" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Mastering.html" title="7.6. Mastering a Session" /><link rel="next" href="sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html" title="7.6.2.2. Choose the Export Format" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../
../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Mastering.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html"><strong>Next</strong></a></li></ul><div class="section" title="7.6.2. Using the Export Window" id="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window">7.6.2. Using the Export Window</h3></div></div>
</div><div class="para">
Regardless of which export method you choose, the "Export" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track).
</div><div class="section" title="7.6.2.1. Choose Which Tracks to Export" id="sect-Musicians_Guide-Ardour-Mastering-Choosing_Tracks_to_Export"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Mastering-Choosing_Tracks_to_Export">7.6.2.1. Choose Which Tracks to Export</h4></div></div></div><div class="para">
- By default, Ardour will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the "Export" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first.
+ By default, <span class="application"><strong>Ardour</strong></span> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the "Export" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Mastering.html"><strong>Prev</strong>7.6. Mastering a Session</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Mastering-Choosing_Export_Format.html"><strong>Next</strong>7.6.2.2. Choose the Export Format</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering.html
index a5aa7f3..5435c1c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Mastering.html
@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.6. Mastering a Session</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Ardour.html" title="Chapter 7. Ardour" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Mixing-Listen.html" title="7.5.6. Listen" /><link rel="next" href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html" title="7.6.2. Using the Export Window" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an ifram
e, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Mixing-Listen.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Mastering-Using_Export_Window.html"><strong>Next</strong></a></li></ul><div class="section" title="7.6. Mastering a Session" id="sect-Musicians_Guide-Ardour-Mastering"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Mastering">7.6. Mastering a Session</h2></div></div></div><div class="para">
To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format.
</div><div class="section" title="7.6.1. Ways to Export Audio" id="sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Mastering-Ways_to_Export">7.6.1. Ways to Export Audio</h3></div></div></div><div class="para">
- There are three ways to export audio from an Ardour session:
+ There are three ways to export audio from an <span class="application"><strong>Ardour</strong></span> session:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
by region,
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html
index d1e1981..378657a 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Adjusting_Recording_Level.html
@@ -7,35 +7,37 @@
</div><div class="para">
The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as "nothing but noise."
</div><div class="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:
- </div><div class="mediaobject"><img src="./images/Ardour-red_peaks.png" width="444" /></div><div class="para">
+ It's easy to imagine how <span class="application"><strong>Ardour</strong></span> acts when it records silence. When <span class="application"><strong>Ardour</strong></span> thinks that a portion of audio is too loud, it outlines the wave-form representation in red, as shown in this image:
+ <span class="inlinemediaobject"><img src="./images/Ardour-red_peaks.png" width="444" /></span>
+
+ </div><div class="para">
There are three simple strategies that can be used to change the input level of an audio signal:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Move the microphone closer or farther from the source
</div></li><li class="listitem"><div class="para">
Route the microphone through a mixer before it hits the audio interface
</div></li><li class="listitem"><div class="para">
- Route the audio through a bus in Ardour before it gets recorded
+ Route the audio through a bus in <span class="application"><strong>Ardour</strong></span> before it gets recorded
</div></li></ol></div>
</div><div class="para">
Here are the pros and cons of each approach.
</div><div class="para">
- There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in Ardour to modify the volume of the input signal before it is recorded.
+ There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <span class="application"><strong>Ardour</strong></span> to modify the volume of the input signal before it is recorded.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Create a new bus by 'Track > Add Track/Bus'
+ Choose <span class="guimenu"><strong>Track</strong></span> → <span class="guimenuitem"><strong>Add Track/Bus</strong></span>.
</div></li><li class="listitem"><div class="para">
Select "busses" in the window that pops up.
</div></li><li class="listitem"><div class="para">
- Choose the number of busses that you wish to add. You will need one for every track that you are recording, and of which you want to adjust the volume. It's also possible to record at several different volumes.
+ Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes.
</div></li><li class="listitem"><div class="para">
Set the number of channels that youw ant int he bus.
</div></li><li class="listitem"><div class="para">
Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like "REC-Bus."
</div></li><li class="listitem"><div class="para">
- Ardour automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track.
+ <span class="application"><strong>Ardour</strong></span> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track.
</div></li><li class="listitem"><div class="para">
- You will need to use QjackCtl (or a similar application) to re-connect as follows (reading "Routing Audio and Managing JACK Connections" for help)
+ Use <span class="application"><strong>QjackCtl</strong></span> to reconnect like this (for help, refer to <a class="xref" href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html" title="7.2.9. Routing Audio and Managing JACK Connections">Section 7.2.9, “Routing Audio and Managing <code class="systemitem">JACK</code> Connectionsâ€</a>):
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Disconnect all of the connections to/from the bus you want to use for recording ("recording bus").
</div></li><li class="listitem"><div class="para">
@@ -55,7 +57,7 @@
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Set up all microphones as required.
</div></li><li class="listitem"><div class="para">
- Set up connections in JACK as required.
+ Set up connections in <code class="systemitem">JACK</code> as required.
</div></li><li class="listitem"><div class="para">
Set up any recording busses as required (see above).
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts.html
index ce49d95..310f7dd 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2.8.2. To Capture an Additional Part of Something That Is already Recorded</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html" title="7.2.8. Recording More" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html" title="7.2.8. Recording More" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html" title="7.2.8.3. To Capture a Better Recording of Something That Is already Recorded" /></head><b
ody class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2.8.2. To Capture an Additional Part of Something That Is already Recorded" id="sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts"><div class="titlepage"><div><div keep-toge
ther.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts">7.2.8.2. To Capture an Additional Part of Something That Is already Recorded</h4></div></div></div><div class="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 e
diting features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there.
+ 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. <span class="application"><strong>Ardour</strong></span> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <span class="application"><strong>Ardour</strong></span> 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 <span class="application"><strong>Ardour</strong></span> 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.
</div><div class="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.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html
index e00677f..69163b5 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html
@@ -1,5 +1,5 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2.4. Connecting Audio Sources to Ardour</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html" title="7.2.3. Setting up the Timeline" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html" title="7.2.5. Setting up the Busses and Tracks" /></head><body class="draft toc_embeded "><div id=
"tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2.4. Connecting Audio Sources to Ardour" id="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id
="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to Ardour</h3></div></div></div><div class="para">
- The name of the track onto which you want to record should be the name of the input in JACK
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2.4. Connecting Audio Sources to Ardour</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html" title="7.2.3. Setting up the Timeline" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html" title="7.2.5. Setting up the Busses and Tracks" /></head><body class="draft toc_embeded "><div id=
"tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2.4. Connecting Audio Sources to Ardour" id="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id
="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources">7.2.4. Connecting Audio Sources to <span class="application"><strong>Ardour</strong></span></h3></div></div></div><div class="para">
+ The name of the track onto which you want to record should be the name of the input in <code class="systemitem">JACK</code>
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html"><strong>Prev</strong>7.2.3. Setting up the Timeline</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_Busses_and_Tracks.html"><strong>Next</strong>7.2.5. Setting up the Busses and Tracks</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html
index 78a9315..b189b5b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2.10. Importing Existing Audio</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html" title="7.2.9. Routing Audio and Managing JACK Connections" /><link rel="next" href="sect-Musicians_Guide-Ardour-Tutorial_Files.html" title="7.3. Files for the Tutorial" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="to
cframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Tutorial_Files.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2.10. Importing Existing Audio" id="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio">7.2.10. Imp
orting Existing Audio</h3></div></div></div><div class="para">
- When you record audio, Ardour automatically save it to disk and adds a representation of that file in the program as a "region." You can also use pre-existing audio files as regions, which can then be added to any track.
+ When you record audio, <span class="application"><strong>Ardour</strong></span> automatically save it to disk and adds a representation of that file in the program as a "region." You can also use pre-existing audio files as regions, which can then be added to any track.
</div><div class="para">
To import an existing audio file:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
@@ -27,7 +27,7 @@
</div></li><li class="listitem"><div class="para">
Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to "audition" the file before importing it (that is, you can hear it by using the "Play" and "Stop" buttons in the window, without affecting your current project.
</div></li><li class="listitem"><div class="para">
- If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case Ardour will warn you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch.
+ If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <span class="application"><strong>Ardour</strong></span> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch.
</div></li><li class="listitem"><div class="para">
There are a number of other options, displayed along the bottom of the window.
</div></li><li class="listitem"><div class="para">
@@ -39,7 +39,7 @@
</div></li><li class="listitem"><div class="para">
"to region list," which puts each file in the region list, but does not automatically put it in any tracks.
</div></li><li class="listitem"><div class="para">
- Note that when you choose to automatically create new tracks, Ardour will add the region to the new track, with the region starting at the current location of the transport.
+ Note that when you choose to automatically create new tracks, <span class="application"><strong>Ardour</strong></span> adds the region to the new track, with the region starting at the current location of the transport.
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Interface.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Interface.html
index 24d5cb5..8d23c92 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Interface.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Interface.html
@@ -1,11 +1,14 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2.2. The Interface</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html" title="7.2.3. Setting up the Timeline" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc"
src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2.2. The Interface" id="sect-Musicians_Guide-Ardour-Recording-Interface"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Interface">7.2.2. The Interface</h3></div></div></div><div class="par
a">
- This section explains some of the graphical interface components that are unique to Ardour. Components that are consistent through most DAWs are explained in <a class="xref" href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html" title="6.3. Interface Vocabulary">Section 6.3, “Interface Vocabularyâ€</a>.
- </div><div class="mediaobject"><img src="./images/Ardour-interface-editor_mixer.png" width="444" /></div><div class="para">
- 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.
- </div><div class="mediaobject"><img src="./images/Ardour-interface-session_sidebar.png" width="444" /></div><div class="para">
- 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.
- </div><div class="mediaobject"><img src="./images/Ardour-interface-toolbar.png" width="444" /></div><div class="para">
- 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.
+ This section explains some of the graphical interface components that are unique to <span class="application"><strong>Ardour</strong></span>. Components that are consistent through most DAWs are explained in <a class="xref" href="sect-Musicians_Guide-DAW_Interface_Vocabulary.html" title="6.3. Interface Vocabulary">Section 6.3, “Interface Vocabularyâ€</a>.
+ </div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Ardour-interface-editor_mixer.png" width="444" /></span>
+ This image shoes the editor mixer, located at the left of the main <span class="application"><strong>Ardour</strong></span> 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.
+ </div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Ardour-interface-session_sidebar.png" width="444" /></span>
+ This image shows the session sidebar, located at the right the main <span class="application"><strong>Ardour</strong></span> 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.
+ </div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Ardour-interface-toolbar.png" width="444" /></span>
+ 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.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html"><strong>Prev</strong>7.2. Recording a Session</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html"><strong>Next</strong>7.2.3. Setting up the Timeline</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html
index f3f453f..6e6b670 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Recording_a_Region.html
@@ -17,7 +17,7 @@
</div></li><li class="listitem"><div class="para">
the buttons will remain lighted to show that the tracks are armed
</div></li><li class="listitem"><div class="para">
- arm Ardour for recording by select the big red record button on the transport
+ arm <span class="application"><strong>Ardour</strong></span> for recording by select the big red record button on the transport
</div></li><li class="listitem"><div class="para">
start the transport in in the normal way (big play button)
</div></li><li class="listitem"><div class="para">
@@ -25,7 +25,7 @@
</div></li><li class="listitem"><div class="para">
each time you start and stop the transport, a new "region" is produced
</div></li><li class="listitem"><div class="para">
- each time you stop the transport, Ardour "un-arms" itself, but any tracks that you selected are still armed
+ each time you stop the transport, <span class="application"><strong>Ardour</strong></span> "un-arms" itself, but any tracks that you selected are still armed
</div></li><li class="listitem"><div class="para">
When you've finished recording a region, use the "Regions" box-thing on the right of the interface to rename the region:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html
index da0870d..1525710 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2.8.3. To Capture a Better Recording of Something That Is already Recorded</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Recording-Recording_More.html" title="7.2.8. Recording More" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts.html" title="7.2.8.2. To Capture an Additional Part of Something That Is already Recorded" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html" title="7.2.9. Routing Audio a
nd Managing JACK Connections" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Capture_Additional_Parts.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2.8.3. To Capture a Better Recording of Something That Is already Recorded" id="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take"><d
iv class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take">7.2.8.3. To Capture a Better Recording of Something That Is already Recorded</h4></div></div></div><div class="para">
- If you have already recorded all or most of a session, you can re-record *part* of the session in order to "fix up" any issues. Ardour allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes.
+ If you have already recorded all or most of a session, you can re-record *part* of the session in order to "fix up" any issues. <span class="application"><strong>Ardour</strong></span> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Record the session.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html
index a0c817d..8a9290b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Routing_Audio.html
@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2.9. Routing Audio and Managing JACK Connections</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html" title="7.2.8.3. To Capture a Better Recording of Something That Is already Recorded" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html" title="7.2.10. Importing Existing Audio" /></head><body cla
ss="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2.9. Routing Audio and Managing JACK Connections" id="sect-Musicians_Guide-Ardour-Recording-Routing_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 cl
ass="title" id="sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing JACK Connections</h3></div></div></div><div class="para">
- Ardour will automatically save the state of JACK connections when it saves a session.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2.9. Routing Audio and Managing JACK Connections</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html" title="7.2.8.3. To Capture a Better Recording of Something That Is already Recorded" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html" title="7.2.10. Importing Existing Audio" /></head><body cla
ss="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2.9. Routing Audio and Managing JACK Connections" id="sect-Musicians_Guide-Ardour-Recording-Routing_Audio"><div class="titlepage"><div><div keep-together.within-column="always"><h3 cl
ass="title" id="sect-Musicians_Guide-Ardour-Recording-Routing_Audio">7.2.9. Routing Audio and Managing <code class="systemitem">JACK</code> Connections</h3></div></div></div><div class="para">
+ <span class="application"><strong>Ardour</strong></span> automatically saves the state of <code class="systemitem">JACK</code> connections when it saves a session.
</div><div class="para">
- Ardour will offer the following output ports, assuming a stereo (two-channel) setup:
+ <span class="application"><strong>Ardour</strong></span> offers the following output ports, assuming a stereo (two-channel) setup:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
two channels per track, called "track_name/out 1" and "track_name/out 2". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one.
</div></li><li class="listitem"><div class="para">
@@ -17,7 +17,7 @@
</div></li></ul></div>
</div><div class="para">
- Ardour will offer the following input ports, assuming a stereo (two-channel) setup:
+ <span class="application"><strong>Ardour</strong></span> offers the following input ports, for a stereo (two-channel) setup:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
two channels per track, called "track_name/in 1" and "track_name/in 2". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus.
</div></li><li class="listitem"><div class="para">
@@ -27,7 +27,7 @@
</div></li></ul></div>
</div><div class="para">
- In most setups, Ardour will automatically set the channel connections correctly. There are ways to change the connections from within Ardour, but they offer limited flexibility. For this reason, it is recommended that users use QjackCtl to monitor connections, since through QjackCtl it is also possible to monitor and change many other features of JACK.
+ In most setups, <span class="application"><strong>Ardour</strong></span> automatically sets the channel connections correctly. There are ways to change the connections from within <span class="application"><strong>Ardour</strong></span>, but they offer limited flexibility. For this reason, it is recommended that users use <span class="application"><strong>QjackCtl</strong></span> to monitor connections, since through <span class="application"><strong>QjackCtl</strong></span> it is also possible to monitor and change many other features of <code class="systemitem">JACK</code>.
</div><div class="para">
- Learning to make the right connections is a valuable trick for people using Ardour. The fact that Ardour uses JACK for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist.
+ Learning to make the right connections is a valuable trick for people using <span class="application"><strong>Ardour</strong></span>. The fact that <span class="application"><strong>Ardour</strong></span> uses <code class="systemitem">JACK</code> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Redo_a_Take.html"><strong>Prev</strong>7.2.8.3. To Capture a Better Recording of Somethi...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html"><strong>Next</strong>7.2.10. Importing Existing Audio</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html
index 6dd8475..e189f6c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline.html
@@ -2,7 +2,7 @@
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2.3. Setting up the Timeline</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Ardour-Recording_a_Session.html" title="7.2. Recording a Session" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording-Interface.html" title="7.2.2. The Interface" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html" title="7.2.4. Connecting Audio Sources to Ardour" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocf
rame" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Interface.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Connecting_Audio_Sources.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2.3. Setting up the Timeline" id="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Setting_up_the_Timeline">7.
2.3. Setting up the Timeline</h3></div></div></div><div class="para">
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- At the top of the main Ardour window, to the right of the transport's toolbar, are two relatively large clocks.
+ At the top of the main <span class="application"><strong>Ardour</strong></span> window, to the right of the transport's toolbar, are two relatively large clocks.
</div></li><li class="listitem"><div class="para">
Right-click to choose what you want them to display:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording_a_Session.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording_a_Session.html
index 65164fb..2172486 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording_a_Session.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Recording_a_Session.html
@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.2. Recording a Session</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Ardour.html" title="Chapter 7. Ardour" /><link rel="prev" href="chap-Musicians_Guide-Ardour.html" title="Chapter 7. Ardour" /><link rel="next" href="sect-Musicians_Guide-Ardour-Recording-Interface.html" title="7.2.2. The Interface" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your br
owser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Ardour.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Interface.html"><strong>Next</strong></a></li></ul><div class="section" title="7.2. Recording a Session" id="sect-Musicians_Guide-Ardour-Recording_a_Session"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Recording_a_Session">7.2. Recording a Session</h2></div></div></div><div class="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.
- </div><div class="section" title="7.2.1. Running Ardour" id="sect-Musicians_Guide-Ardour-Recording-Running_Ardour"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running Ardour</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Ardour uses the JACK sound server. You should start JACK with QjackCtl before running Ardour, or Ardour will start JACK for you.
+ 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 <code class="systemitem">JACK</code> must have the same sample rate and sample format settings each time you open a session.
+ </div><div class="section" title="7.2.1. Running Ardour" id="sect-Musicians_Guide-Ardour-Recording-Running_Ardour"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Ardour-Recording-Running_Ardour">7.2.1. Running <span class="application"><strong>Ardour</strong></span></h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+ <span class="application"><strong>Ardour</strong></span> uses the <code class="systemitem">JACK</code> sound server. Use <span class="application"><strong>QjackCtl</strong></span> to start <code class="systemitem">JACK</code> before <span class="application"><strong>Ardour</strong></span>, or <span class="application"><strong>Ardour</strong></span> starts <code class="systemitem">JACK</code> for you.
</div></li><li class="step" title="Step 2"><div class="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.
+ <span class="application"><strong>Ardour</strong></span> asks you to choose a location to save your new session. <span class="application"><strong>Ardour</strong></span> automatically creates a directory to store the session's files. You can also open an existing session.
</div></li></ol></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Ardour.html"><strong>Prev</strong>Chapter 7. Ardour</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Recording-Interface.html"><strong>Next</strong>7.2.2. The Interface</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Tutorial_Files.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Tutorial_Files.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Tutorial_Files.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Ardour-Tutorial_Files.html
@@ -3,9 +3,9 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>7.3. Files for the Tutorial</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Ardour.html" title="Chapter 7. Ardour" /><link rel="prev" href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html" title="7.2.10. Importing Existing Audio" /><link rel="next" href="sect-Musicians_Guide-Ardour-Editing.html" title="7.4. Editing a Song (Tutorial)" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.h
tml">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Editing.html"><strong>Next</strong></a></li></ul><div class="section" title="7.3. Files for the Tutorial" id="sect-Musicians_Guide-Ardour-Tutorial_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Ardour-Tutorial_Files">7.3. Files for the Tutorial</h2></div></div></div><div class="para">
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 <em class="citetitle">Esther Wheaton's MySpace Page</em>, available at <a href="http://www.myspace.com/estherwheaton">http://www.myspace.com/estherwheaton</a>.
</div><div class="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.
+ The material presented for your use is a folder containing an <span class="application"><strong>Ardour</strong></span> 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 <span class="application"><strong>Ardour</strong></span>as separate regions. Therefore, the setup is more complex than it would be if the song were originally recorded in <span class="application"><strong>Ardour</strong></span>, but this gives the opportunity to learn in greater detail about busses, creating and using the stereo image, and volume level adjustments.
</div><div class="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.
+ 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 <span class="application"><strong>Ardour</strong></span>, and this is almost guaranteed.
</div><div class="para">
!!EL!! Links to the files !!I!! I don't know where to put them!
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Ardour-Recording-Importing_Existing_Audio.html"><strong>Prev</strong>7.2.10. Importing Existing Audio</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Ardour-Editing.html"><strong>Next</strong>7.4. Editing a Song (Tutorial)</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html
@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.12.2. Changing the Order</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12. Ordering and Other Synth Features" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12. Ordering and Other Synth Features" /><link rel="next" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html" title="11.4.12.3. Replac
e a Running Synth" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.12.2. Changing the Order" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Fea
tures-Changing_the_Order"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order">11.4.12.2. Changing the Order</h4></div></div></div><div class="para">
- SuperCollider offers equally easy-to-use methods to change the order of execution.
+ <span class="application"><strong>SuperCollider</strong></span> offers equally easy-to-use methods to change the order of execution.
</div><div class="para">
- To move a synth's execution after another: [pre] variableHoldingSynth.moveAfter( variableHoldingAnotherSynth ); [/pre]
+ To move a synth's execution after another: <div class="funcsynopsis"><p><code class="funcdef">variableHoldingSynth<b class="fsfunc">moveAfter</b>(</code><var class="pdparam">variableHoldingAnotherSynth</var><code>)</code>;</p></div>
</div><div class="para">
- To move a synth's execution before another: [pre] variableHoldingSynth.moverBefore( variableHoldingAnotherSynth ); [/pre]
+ To move a synth's execution before another: <div class="funcsynopsis"><p><code class="funcdef">variableHoldingSynth<b class="fsfunc">moveBefore</b>(</code><var class="pdparam">variableHoldingAnotherSynth</var><code>)</code>;</p></div>
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Prev</strong>11.4.12. Ordering and Other Synth Features</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Next</strong>11.4.12.3. Replace a Running Synth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html
@@ -3,7 +3,11 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.12.4. Pausing and Restarting a Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12. Ordering and Other Synth Features" /><link rel="prev" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html" title="11.4.12.3. Replace a Running Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13. Scheduling" /></head>
<body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.12.4. Pausing and Restarting a Synth" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Sy
nth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth">11.4.12.4. Pausing and Restarting a Synth</h4></div></div></div><div class="para">
The server allows you to temporarily pause and later re-start a synth, without freeing and re-creating it.
</div><div class="para">
- To pause a synth: [pre] variableHoldingSynth.run( false ); [/pre]
+ To pause a synth:
+<pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.run( false );</pre>
+
</div><div class="para">
- To re-start a synth: [pre] variableHoldingSynth.run( true ); [/pre]
+ To re-start a synth:
+<pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.run( true );</pre>
+
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html"><strong>Prev</strong>11.4.12.3. Replace a Running Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Next</strong>11.4.13. Scheduling</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth.html
@@ -3,5 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.12.3. Replace a Running Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12. Ordering and Other Synth Features" /><link rel="prev" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html" title="11.4.12.2. Changing the Order" /><link rel="next" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html" title="1
1.4.12.4. Pausing and Restarting a Synth" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.12.3. Replace a Running Synth" id="sect-Musi
cians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Replace_a_Running_Synth">11.4.12.3. Replace a Running Synth</h4></div></div></div><div class="para">
The server allows you to replace a running synth with a newly-created one, maintaining all of the ordering relationships.
</div><div class="para">
- This is the syntax: [pre] variableHoldingNewSynth = Synth.replace( variableHoldingSynthToReplace, nameOfSynthDef, ListOfArguments ); [/pre] The "variableHoldingNewSynth" will often be the same as the "variableHoldingSynthToReplace," but not always. When you use this Function, the synth being replaced is freed from the server (equivalent to running "free"), so that variable should always be assigned something.
+ This is the syntax:
+<pre class="programlisting">variableHoldingNewSynth = Synth.replace( variableHoldingSynthToReplace, nameOfSynthDef, ListOfArguments );</pre>
+ The "variableHoldingNewSynth" will often be the same as the "variableHoldingSynthToReplace," but not always. When you use this Function, the synth being replaced is freed from the server (equivalent to running "free"), so that variable should always be assigned something.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Prev</strong>11.4.12.2. Changing the Order</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Pausing_and_Restarting_a_Synth.html"><strong>Next</strong>11.4.12.4. Pausing and Restarting a Synth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html
@@ -1,13 +1,18 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>4.3.3. Preventing a Package from Being Updated</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html" title="4.3. Using Software from Planet CCRMA at Home" /><link rel="prev" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html" title="4.3.2. Setting Repository Priorities" /><link rel="next" href="pt02.html" title="Part II. Audio and Music Software" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" clas
s="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pt02.html"><strong>Next</strong></a></li></ul><div class="section" title="4.3.3. Preventing a Package from Being Updated" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Preventing a Package from Being Updated</h3></div></div></div
><div class="para">
- This is optional, and recommended only for advanced users. Normally, "yum" will install the latest version of a package. Using this plugin will allow you to prevent certain packages from being updated. If you wish to prevent packages from a particular repository from being used, then THIS SECTION is better-suited to your needs.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>4.3.3. Prevent a Package from Being Updated</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html" title="4.3. Using Software from Planet CCRMA at Home" /><link rel="prev" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html" title="4.3.2. Set Repository Priorities" /><link rel="next" href="pt02.html" title="Part II. Audio and Music Software" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc"
src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="pt02.html"><strong>Next</strong></a></li></ul><div class="section" title="4.3.3. Prevent a Package from Being Updated" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates">4.3.3. Prevent a Package from Being Updated</h3></div></div></div><div class="
para">
+ This is optional, and recommended only for advanced users. <code class="command">yum</code> normally installs the latest version of packages. This plugin prevents certain packages from being updated. If you wish to prevent packages from a particular repository from being used, then <a class="xref" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html" title="4.3.2. Set Repository Priorities">Section 4.3.2, “Set Repository Prioritiesâ€</a> is better-suited to your needs.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Install the "yum-plugin-versionlock" package.
+ Install the <code class="literal">yum-plugin-versionlock</code> package.
</div></li><li class="listitem"><div class="para">
- Use a text editor or the "cat" or "less" command to verify that <code class="code">/etc/yum/pluginconf.d/versionlock.conf</code> exists, and contains the following text: [pre]enabled = 1[/pre]
+ Use a text editor or the <code class="command">cat</code> or <code class="command">less</code> command to verify that <code class="filename">/etc/yum/pluginconf.d/versionlock.conf</code> exists, and contains the following text: <code class="code">enabled = 1</code>
</div></li><li class="listitem"><div class="para">
- Add the list of packages which you do not want to be updated to <code class="code">/etc/yum/pluginconf.d/versionlock.list</code>. Each package should go on its own line. For example: [pre]jack-audio-connect-kit-1.9.4 qjackctl-0.3.6[/pre]
+ Add the list of packages which you do not want to be updated to <code class="filename">/etc/yum/pluginconf.d/versionlock.list</code>. Each package should go on its own line. For example:
+<pre class="programlisting">
+jack-audio-connect-kit-1.9.4
+qjackctl-0.3.6
+</pre>
+
</div></li></ol></div>
- </div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html"><strong>Prev</strong>4.3.2. Setting Repository Priorities</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="pt02.html"><strong>Next</strong>Part II. Audio and Music Software</a></li></ul></body></html>
+ </div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html"><strong>Prev</strong>4.3.2. Set Repository Priorities</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="pt02.html"><strong>Next</strong>Part II. Audio and Music Software</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Repository_Priorities.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Repository_Priorities.html
index e7f789c..ab0cc56 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Repository_Priorities.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-CCRMA_Repository_Priorities.html
@@ -1,13 +1,16 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>4.3.2. Setting Repository Priorities</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html" title="4.3. Using Software from Planet CCRMA at Home" /><link rel="prev" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html" title="4.3. Using Software from Planet CCRMA at Home" /><link rel="next" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html" title="4.3.3. Preventing a Package from Being Updated" /></head><body class="draft toc_embed
ed "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Next</strong></a></li></ul><div class="section" title="4.3.2. Setting Repository Priorities" id="sect-Musicians_Guide-CCRMA_Repository_Priorities"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Rep
ository_Priorities">4.3.2. Setting Repository Priorities</h3></div></div></div><div class="para">
- This is optional, and recommended only for advanced users. Normally, "yum" will install the latest version of a package, regardless of which repository provides it. Using this plugin will change this behaviour, so that yum will choose package versions primarily based on which repository provides it. If a newer version is available at a repository with lower priority, yum will not upgrade the package. If you simply wish to prevent a particular package from being updated, the instructions in "Preventing LINK LINK" are better-suited to your needs.
- <div class="orderedlist"><ol><li class="listitem"><div class="para">
- Install the "yum-plugin-priorities" package.
- </div></li><li class="listitem"><div class="para">
- Use a text editor or the "cat" or "less" command to verify that <code class="code">/etc/yum/pluginconf.d/priorities.conf</code> exists, and contains the following text: [pre][main] enabled = 1[/pre]If you want to stop using the plugin, you can edit this file so that <code class="code">enabled = 0</code>. This allows you to keep the priorities as set in the repository configuration files.
- </div></li><li class="listitem"><div class="para">
- You can set priorities for some or all repositories. To add a priority to a repository, edit its respective file in the <code class="code">/etc/yum.repos.d/*</code> directory, adding a line like: [pre]priority = N[/pre]where N is a number from 1 to 99, inclusive. A priority of 1 is the highest setting, and 99 is the lowest. You will need to set priorities of at least two repositories before this becomes useful.
- </div></li></ol></div>
-
- </div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html"><strong>Prev</strong>4.3. Using Software from Planet CCRMA at Home</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Next</strong>4.3.3. Preventing a Package from Being Updated</a></li></ul></body></html>
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>4.3.2. Set Repository Priorities</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html" title="4.3. Using Software from Planet CCRMA at Home" /><link rel="prev" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html" title="4.3. Using Software from Planet CCRMA at Home" /><link rel="next" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html" title="4.3.3. Prevent a Package from Being Updated" /></head><body class="draft toc_embeded "><d
iv id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Next</strong></a></li></ul><div class="section" title="4.3.2. Set Repository Priorities" id="sect-Musicians_Guide-CCRMA_Repository_Priorities"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Repository_Pri
orities">4.3.2. Set Repository Priorities</h3></div></div></div><div class="para">
+ This is optional, and recommended only for advanced users. <span class="application"><strong>yum</strong></span> normally installs the latest version of a package, regardless of which repository provides it. Using this plugin will change this behaviour, so that <span class="application"><strong>yum</strong></span> will choose package versions primarily based on which repository provides it. If a newer version is available at a repository with lower priority, <span class="application"><strong>yum</strong></span> does not upgrade the package. If you simply wish to prevent a particular package from being updated, the instructions in <a class="xref" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html" title="4.3.3. Prevent a Package from Being Updated">Section 4.3.3, “Prevent a Package from Being Updatedâ€</a> are better-suited to your needs.
+ </div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
+ Install the <span class="package">yum-plugin-priorities</span> package.
+ </div></li><li class="step" title="Step 2"><div class="para">
+ Use a text editor or the <span class="application"><strong>cat</strong></span> or <span class="application"><strong>less</strong></span> command to verify that <code class="filename">/etc/yum/pluginconf.d/priorities.conf</code> exists, and contains the following text:
+<pre class="programlisting">
+[main]
+enabled = 1
+</pre>
+ If you want to stop using the plugin, you can edit this file so that <code class="code">enabled = 0</code>. This allows you to keep the priorities as set in the repository configuration files.
+ </div></li><li class="step" title="Step 3"><div class="para">
+ You can set priorities for some or all repositories. To add a priority to a repository, edit its respective file in the <code class="filename">/etc/yum.repos.d/<em class="replaceable"><code>*</code></em></code> directory, adding a line like: <code class="literal">priority = <em class="replaceable"><code>N</code></em></code> where <code class="literal">N</code> is a number between <code class="literal">1</code> and <code class="literal">99</code>, inclusive. A priority of <code class="literal">1</code> is the highest setting, and <code class="literal">99</code> is the lowest. You will need to set priorities of at least two repositories before this becomes useful.
+ </div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html"><strong>Prev</strong>4.3. Using Software from Planet CCRMA at Home</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Preventing_Package_Updates.html"><strong>Next</strong>4.3.3. Prevent a Package from Being Updated</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Clock.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Clock.html
index 2629b81..5d8803e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Clock.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Clock.html
@@ -1,6 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.4.2. Clock</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="prev" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="next" href="sect-Musicians_Guide-Track_Info_Pane.html" title="6.4.3. "Track Info" Pane" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view i
t upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-DAW_User_Interface.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Track_Info_Pane.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4.2. Clock" id="sect-Musicians_Guide-DAW_Clock"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-clocks.png" width="444" /></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.4.2. Clock</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="prev" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="next" href="sect-Musicians_Guide-Track_Info_Pane.html" title="6.4.3. "Track Info" Pane" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view i
t upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-DAW_User_Interface.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Track_Info_Pane.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4.2. Clock" id="sect-Musicians_Guide-DAW_Clock"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-DAW_Clock">6.4.2. Clock</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-clocks.png" width="444" /></span>
+
+ </div><div class="para">
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.
</div><div class="para">
Note that this particular time clock in "Qtractor" also offers information about the MIDI tempo and metre (120.0 beats per minute, and 4/4 metre), along with a quantization setting for MIDI recording.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Transport_Controls.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Transport_Controls.html
index 88f59d4..55b9684 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Transport_Controls.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_Transport_Controls.html
@@ -1,6 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.4.5. Transport Controls</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="prev" href="sect-Musicians_Guide-Track_Pane.html" title="6.4.4. "Track" Pane" /><link rel="next" href="chap-Musicians_Guide-Ardour.html" title="Chapter 7. Ardour" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade
your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Track_Pane.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Ardour.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4.5. Transport Controls" id="sect-Musicians_Guide-DAW_Transport_Controls"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-transport.png" width="444" /></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.4.5. Transport Controls</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="prev" href="sect-Musicians_Guide-Track_Pane.html" title="6.4.4. "Track" Pane" /><link rel="next" href="chap-Musicians_Guide-Ardour.html" title="Chapter 7. Ardour" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade
your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Track_Pane.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Ardour.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4.5. Transport Controls" id="sect-Musicians_Guide-DAW_Transport_Controls"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-DAW_Transport_Controls">6.4.5. Transport Controls</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-transport.png" width="444" /></span>
+
+ </div><div class="para">
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.
</div><div class="para">
The single, left-pointing arrow with a vertical line will move the transport to the start of the session, without playing or recording any material. In "Qtractor," if there is a blue place-marker between the transport and the start of the session, the transport will skip to the blue place-marker. You can press the button again if you wish to skip to the next blue place-marker or the beginning of the session.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_User_Interface.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_User_Interface.html
index d378bda..29c0334 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_User_Interface.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-DAW_User_Interface.html
@@ -2,6 +2,9 @@
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.4. User Interface</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Digital_Audio_Workstations.html" title="Chapter 6. Digital Audio Workstations" /><link rel="prev" href="sect-Musicians_Guide-Automation.html" title="6.3.6. Automation" /><link rel="next" href="sect-Musicians_Guide-DAW_Clock.html" title="6.4.2. Clock" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it up
grade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Automation.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-DAW_Clock.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4. User Interface" id="sect-Musicians_Guide-DAW_User_Interface"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-DAW_User_Interface">6.4. User Interface</h2></div></div></div><div class="para">
This section describes various components of software-based DAW interfaces. Although the Qtractor application is visible in the images, both Ardour and Rosegarden (along with most other DAW software) have an interface that differs only in details, such as which buttons are located where.
- </div><div class="section" title="6.4.1. "Messages" Pane" id="sect-Musicians_Guide-Messages_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-messages.png" width="444" /></div><div class="para">
+ </div><div class="section" title="6.4.1. "Messages" Pane" id="sect-Musicians_Guide-Messages_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Messages_Pane">6.4.1. "Messages" Pane</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-messages.png" width="444" /></span>
+
+ </div><div class="para">
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.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Automation.html"><strong>Prev</strong>6.3.6. Automation</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-DAW_Clock.html"><strong>Next</strong>6.4.2. Clock</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html
index aa99d1e..8cf2c14 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora.html
@@ -7,7 +7,7 @@
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Install the Planet CCRMA at Home repositories by following the instructions in <a class="xref" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a>.
</div></li><li class="listitem"><div class="para">
- Run the following command in a terminal: [pre]su -c 'yum install planetccrma-core'[/pre] Note that this is a meta-package, which does not install anything by itself, but causes a number of other packages to be installed, which will themselves perform the desired installation and optimization.
+ Run the following command in a terminal: <code class="command">su -c 'yum install planetccrma-core'</code> Note that this is a meta-package, which does not install anything by itself, but causes a number of other packages to be installed, which will themselves perform the desired installation and optimization.
</div></li><li class="listitem"><div class="para">
Shut down and reboot your computer, to test the new kernel. If you decided to modify your GRUB configuration, be sure that you leave a non-real-time kernel available for use.
</div></li></ol></div>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html
index 4c9bc35..43f80c1 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Integrating_PulseAudio_with_JACK.html
@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>2.3.3. Integrating PulseAudio with JACK</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Using_JACK.html" title="2.3. Using the JACK Audio Connection Kit" /><link rel="prev" href="sect-Musicians_Guide-Using_QjackCtl.html" title="2.3.2. Using QjackCtl" /><link rel="next" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html" title="Chapter 3. Real-Time and Low Latency" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src=
"../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Using_QjackCtl.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="chap-Musicians_Guide-Real_Time_and_Low_Latency.html"><strong>Next</strong></a></li></ul><div class="section" title="2.3.3. Integrating PulseAudio with JACK" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">2.3.3. Integrating PulseAudio with JACK</h3></div></div></
div><div class="para">
The default configuration of PulseAudio yields control of the audio equipment to JACK when the JACK server starts. PulseAudio will not be able to receive input or send output of any audio signals on the audio interface used by JACK. This is fine for occasional users of JACK, but many users will want to use JACK and PulseAudio simultaneously, or switch between the two frequently. The following instructions will configure PulseAudio so that its input and output is routed through JACK.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Use PackageKit or KPackageKit to install the "pulseaudio-module-jack" package, or in a terminal run the following command: [pre]su -c 'yum install pulseaudio-module-jack'[/pre]
+ Use PackageKit or KPackageKit to install the <span class="package">pulseaudio-module-jack</span> package.
</div></li><li class="listitem"><div class="para">
Approve the installation and ensure that it is carried out properly.
</div></li><li class="listitem"><div class="para">
@@ -11,12 +11,17 @@
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Be careful! You will be editing an important system file as the root user!
</div></li><li class="listitem"><div class="para">
- Run the following command in a terminal: [pre]sudo -c 'gedit /etc/pulse/default.pa'[/pre]
+ Run the following command in a terminal: <code class="command">sudo -c 'gedit /etc/pulse/default.pa'</code>
</div></li><li class="listitem"><div class="para">
- Add the following lines, underneath the line that says [code]#load-module module-alsa-sink[/code]: [pre]load-module module-jack-sink load-module module-jack-source[/pre]
+ Add the following lines, underneath the line that says [code]#load-module module-alsa-sink[/code]:
+<pre class="programlisting">
+load-module module-jack-sink
+load-module module-jack-source
+</pre>
+
</div></li></ol></div>
</div></li><li class="listitem"><div class="para">
- Restart PulseAudio by running the following command in a terminal: [pre]killall pulseaudio[/pre] It will start again automatically.
+ Restart PulseAudio by running the following command in a terminal: <code class="command">killall pulseaudio</code> PulseAudio restarts automatically.
</div></li><li class="listitem"><div class="para">
Confirm that this has worked by opening QjackCtl. The display should confirm that JACK is "Active".
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html
index 039e11f..78bb868 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output.html
@@ -3,7 +3,14 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.6.3. Adjusting Frescobaldi's Output</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Orchestra.html" title="12.6. Working on an Orchestral Score (Tutorial)" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html" title="12.6.2. Starting the Score" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html" title="12.6.4. Inputting" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="t
ocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Orchestra-Starting_the_Score.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html"><strong>Next</strong></a></li></ul><div class="section" title="12.6.3. Adjusting Frescobaldi's Output" id="sect-Musicians_Guide-LilyPond-Orchestra-Adjusting_Frescobaldis_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Orchestra-Adjustin
g_Frescobaldis_Output">12.6.3. Adjusting Frescobaldi's Output</h3></div></div></div><div class="para">
These steps are useful in establishing a consistent input style for LilyPond. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end.
</div><div class="para">
- When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way: [pre]version header widely-used settings like tempoMark and "global" individual parts score formatting[/pre] The specific ordering will become more obvious to you as you get used to LilyPond.
+ When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way:
+<div class="literallayout"><p>version<br />
+ header<br />
+ widely-used settings like tempoMark and "global"<br />
+ individual parts<br />
+ score formatting<br />
+</p></div>
+ The specific ordering will become more obvious to you as you get used to LilyPond.
</div><div class="para">
Here are some of the things that I do before inputting notes:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -13,7 +20,20 @@
</div></li><li class="listitem"><div class="para">
Add blank lines between large sections, to separate them more obviously
</div></li><li class="listitem"><div class="para">
- Begin braces on new lines, like [pre]\header { title = "Symphony" ... } [/pre] instead of on the same line, like [pre]\header { title = "Symphony" ... } [/pre] This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
+ Begin braces on new lines, like
+<div class="literallayout"><p>\header<br />
+ {<br />
+   title = "Symphony"<br />
+ Â Â ...<br />
+ }<br />
+</p></div>
+ instead of on the same line, like
+<div class="literallayout"><p>\header {<br />
+   title = "Symphony"<br />
+ Â Â ...<br />
+ }<br />
+</p></div>
+ This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
</div></li><li class="listitem"><div class="para">
Familiarize myself with the sections and commands created by Frescobaldi, getting a sense of what the section/command does (even if I don't understand what each specific command does). This makes it easier to sort out problems and customization down the road. Sometimes, when the setup is quite complex, I make comments about what seems to be going on.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Fast_Section.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Fast_Section.html
index ee553f1..67f66ec 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Fast_Section.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Fast_Section.html
@@ -9,9 +9,21 @@
</div></li><li class="step" title="Step 3"><div class="para">
The code needed for this is a little bit complicated, but you don't need to write it yourself: just take it from the "tempoMark" section created by Frescobaldi. All you need to do is change "Adagio" to "Allegro spiritoso," and add the barline indicator. This is also easy because of Frescobaldi: 'LilyPond > Bar Lines > Repeat start'
</div></li><li class="step" title="Step 4"><div class="para">
- You end up with [pre]startExposition = { \once \override Score.RehearsalMark #'self-alignment-X = #LEFT \once \override Score.RehearsalMark #'break-align-symbols = #'(time-signature key-signature) \mark \markup \bold "Allegro spiritoso" \bar "|:" } [/pre]
+ You end up with
+<div class="literallayout"><p>startExposition =<br />
+ {<br />
+   \once \override Score.RehearsalMark #'self-alignment-X = #LEFT<br />
+   \once \override Score.RehearsalMark #'break-align-symbols = #'(time-signature key-signature)<br />
+   \mark \markup \bold "Allegro spiritoso"<br />
+   \bar "|:"<br />
+ }</p></div>
</div></li><li class="step" title="Step 5"><div class="para">
- Add the reference to this in all of your parts. Because of how I named it, this also serves as a handy way to find your way through the LilyPond markup file. [pre] r4 r r\fermata | \startExposition R2.*4 | [/pre]
+ Add the reference to this in all of your parts. Because of how I named it, this also serves as a handy way to find your way through the LilyPond markup file.
+<div class="literallayout"><p>  r4 r r\fermata |<br />
+ Â Â <br />
+ Â Â \startExposition<br />
+ Â Â <br />
+ Â Â R2.*4Â |</p></div>
</div></li><li class="step" title="Step 6"><div class="para">
The barline and tempo-change will not appear unless you write some music after them, so put in some or all of the rests that follow, just to test it.
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Strings.html"><strong>Prev</strong>12.6.4.4. Moving on to the Strings</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano.html"><strong>Next</strong>12.7. Working on a Piano Score (Tutorial)</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Strings.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Strings.html
index e08738b..80698c2 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Strings.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Strings.html
@@ -24,16 +24,16 @@
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Anything between << and >> is interpreted by LilyPond as happening together. If you take a look at the "score" section at the bottom of the file, you will see that all of the parts are listed in that kind of bracket. This ensures that they all happen simultaneously.
</div></li><li class="listitem"><div class="para">
- For short-term polyphonic input, use the formula [pre]<< { upper-voice notes } \\ { lower-voice notes } >>[/pre]. Remember that the "upper voice" has upward-pointing stems, and the "lower voice" has downward-pointing stems.
+ For short-term polyphonic input, use the formula <code class="code"><< { upper-voice notes } \\ { lower-voice notes } >></code>. Remember that the "upper voice" has upward-pointing stems, and the "lower voice" has downward-pointing stems.
</div></li></ul></div>
</div></li><li class="listitem"><div class="para">
- Ties: These can be written by adding ~ to the end of the note beginning the tie: [pre]c4~ c8[/pre]
+ Ties: These can be written by adding ~ to the end of the note beginning the tie: <code class="code">c4~ c8</code>
</div></li><li class="listitem"><div class="para">
Grace Notes: These take up no logical time, and are smaller than ordinary notes. Any notes appearing <code class="code">\grace { in here }</code> would be considered grace notes.
</div></li><li class="listitem"><div class="para">
Crescendo and Diminuendo Markings:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with \< and a diminuendo with \>.
+ These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with <code class="code">\<</code> and a diminuendo with <code class="code">\></code>.
</div></li><li class="listitem"><div class="para">
The left-most point of the marking (its beginning) is indicated by where you put \< or \>
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Wind_and_Timpani.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Wind_and_Timpani.html
index 5dbd2f8..4fbf62b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Wind_and_Timpani.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Wind_and_Timpani.html
@@ -29,7 +29,9 @@
</div></li><li class="step" title="Step 2.e"><div class="para">
Slurs begin at ( and end at ). Add a slur from the g to c-sharp.
</div></li><li class="step" title="Step 2.f"><div class="para">
- Preview the score to make sure that you entered these articulations correctly. Your code should be: [pre]r8 d-. g-. bes-. d-. bes-. | g8( cis) cis4 r |[/pre]
+ Preview the score to make sure that you entered these articulations correctly. Your code should be:
+<div class="literallayout"><p>r8 d-. g-. bes-. d-. bes-. |<br />
+   g8( cis) cis4 r |</p></div>
</div></li></ol></li><li class="step" title="Step 3"><div class="para">
Now to add the "forte" marking. You can add text (or any object, for that matter) onto a note (or rest, etc.) with one of these three symbols:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -51,5 +53,8 @@
</div></li><li class="step" title="Step 8"><div class="para">
The "a 2" marking, meaning "to be played by two players," does need the text-in-quotes format, however. Put that marking ''above'' the d following the eighth rest.
</div></li><li class="step" title="Step 9"><div class="para">
- Those two measures should now look like this: [pre]r8\f d-.^"a 2" g-. bes-. d-. bes-. | g8( cis) cis4 r | [/pre] Note that <code class="code">d-.^"a 2"</code> gives the same result as <code class="code">d^"a 2"-.</code>
+ Those two measures should now look like this:
+<div class="literallayout"><p>r8\f d-.^"a 2" g-. bes-. d-. bes-. |<br />
+ g8( cis) cis4 r |</p></div>
+ Note that <code class="code">d-.^"a 2"</code> gives the same result as <code class="code">d^"a 2"-.</code>
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting.html"><strong>Prev</strong>12.6.4. Inputting</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Orchestra-Inputting-Oboe_and_Horn.html"><strong>Next</strong>12.6.4.3. Oboe and Horn Parts</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html
index a0f5913..fb55e29 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output.html
@@ -3,7 +3,13 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.7.3. Adjusting Frescobaldi's Output</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano.html" title="12.7. Working on a Piano Score (Tutorial)" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html" title="12.7.2. Starting the Score" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html" title="12.7.4. Inputting" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="to
c" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Starting_the_Score.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.3. Adjusting Frescobaldi's Output" id="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Adjusting_Frescobaldis_Output">12.7.3. Ad
justing Frescobaldi's Output</h3></div></div></div><div class="para">
These steps are useful in establishing a consistent input style for LilyPond. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end.
</div><div class="para">
- When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way: [pre]version header widely-used settings like tempoMark and "global" individual parts score formatting[/pre] The specific ordering will become more obvious to you as you get used to LilyPond.
+ When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way:
+<div class="literallayout"><p>version<br />
+ header<br />
+ widely-used settings like tempoMark and "global"<br />
+ individual parts<br />
+ score formatting</p></div>
+ The specific ordering will become more obvious to you as you get used to LilyPond.
</div><div class="para">
Here are some of the things that I do before inputting notes:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -13,7 +19,18 @@
</div></li><li class="listitem"><div class="para">
Add blank lines between large sections, to separate them more obviously
</div></li><li class="listitem"><div class="para">
- Begin braces on new lines (as [pre]\header { title = "Impromptu" ... }[/pre]instead of on the same line (as [pre]\header { title = "Impromptu" ... }[/pre]This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
+ Begin braces on new lines (as
+<div class="literallayout"><p>\header<br />
+ {<br />
+   title = "Impromptu"<br />
+ Â Â ...<br />
+ }</p></div>
+ instead of on the same line (as
+<div class="literallayout"><p>\header {<br />
+   title = "Impromptu"<br />
+ Â Â ...<br />
+ }</p></div>
+ This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.
</div></li><li class="listitem"><div class="para">
Familiarize myself with the sections and commands created by Frescobaldi, getting a sense of what the section/command does (even if I don't understand what each specific command does). This makes it easier to sort out problems and customization down the road. Sometimes, when the setup is quite complex, I make comments about what seems to be going on.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting.html
index 5271246..d13a7d0 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Formatting.html
@@ -11,9 +11,52 @@
</div><div class="para">
Follow these steps to create a "PianoDynamics" Context:
</div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- Between the left and right staves of the PianoStaff, add "<code class="code">\new PianoDynamics = "dynamics" \dynamics</code>". For the Schubert score, this looks like: [pre] \new PianoStaff \with { instrumentName = "Piano" } << \new Staff = "right" \right \new PianoDynamics = "dynamics" \dynamics \new Staff = "left" { \clef bass \left } >>[/pre]
+ Between the left and right staves of the PianoStaff, add "<code class="code">\new PianoDynamics = "dynamics" \dynamics</code>". For the Schubert score, this looks like: \new PianoStaff \with
+<div class="literallayout"><p>Â Â Â Â {<br />
+       instrumentName = "Piano"<br />
+ Â Â Â Â }<br />
+ Â Â <<<br />
+     \new Staff = "right" \right<br />
+     \new PianoDynamics = "dynamics" \dynamics<br />
+     \new Staff = "left" { \clef bass \left }<br />
+ Â Â >></p></div>
</div></li><li class="step" title="Step 2"><div class="para">
- To the layout section, add the following: [pre]% Everything below here is for the piano dynamics. % Define "PianoDynamics" context. \context { \type "Engraver_group" \name PianoDynamics \alias Voice \consists "Output_property_engraver" \consists "Script_engraver" \consists "New_dynamic_engraver" \consists "Dynamic_align_engraver" \consists "Text_engraver" \consists "Skip_event_swallow_translator" \consists "Axis_group_engraver" \override DynamicLineSpanner #'Y-offset = #0 \override TextScript #'font-size = #2 \override TextScript #'font-shape = #'italic \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1) } % Modify "PianoStaff" context to accept Dynamics context. \context { \PianoStaff \accepts PianoDynamics } % End of PianoDynamics code.[/pre] This creates a "PianoDynamics" context, and modifies the "PianoStaff" context so that it will accept a "PianoDynamics" context.
+ To the layout section, add the following:
+<div class="literallayout"><p>    % Everything below here is for the piano dynamics.<br />
+     % Define "PianoDynamics" context.<br />
+     \context <br />
+ Â Â Â Â {<br />
+       \type "Engraver_group"<br />
+       \name PianoDynamics<br />
+       \alias Voice<br />
+       \consists "Output_property_engraver"<br />
+       \consists "Script_engraver"<br />
+       \consists "New_dynamic_engraver"<br />
+       \consists "Dynamic_align_engraver"<br />
+       \consists "Text_engraver"<br />
+       \consists "Skip_event_swallow_translator"<br />
+       \consists "Axis_group_engraver"<br />
+ Â Â Â Â Â Â <br />
+       \override DynamicLineSpanner #'Y-offset = #0<br />
+       \override TextScript #'font-size = #2<br />
+       \override TextScript #'font-shape = #'italic<br />
+       \override VerticalAxisGroup #'minimum-Y-extent = #'(-1 . 1)<br />
+ Â Â Â Â }<br />
+ Â Â Â Â <br />
+     % Modify "PianoStaff" context to accept Dynamics context.<br />
+ Â Â Â Â \context<br />
+ Â Â Â Â {<br />
+ Â Â Â Â Â Â \PianoStaff<br />
+       \accepts PianoDynamics<br />
+ Â Â Â Â }<br />
+     % End of PianoDynamics code.</p></div>
+ This creates a "PianoDynamics" context, and modifies the "PianoStaff" context so that it will accept a "PianoDynamics" context.
</div></li><li class="step" title="Step 3"><div class="para">
- Before the "\score" section, add a section called "dynamics," like this:[pre]dynamics = { % Dynamics go here. }[/pre] This is where you will input the dynamics.
+ Before the "\score" section, add a section called "dynamics," like this:
+<div class="literallayout"><p>dynamics =<br />
+ {<br />
+   % Dynamics go here.<br />
+ Â Â <br />
+ }</p></div>
+ This is where you will input the dynamics.
</div></li></ol></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Troubleshooting_Errors.html"><strong>Prev</strong>12.7.5. Troubleshooting Errors</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Formatting-Inputting_the_Dynamics.html"><strong>Next</strong>12.7.6.2. Inputting the Dynamics</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html
index c99da14..afc440f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music.html
@@ -1,7 +1,16 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.7.4.6. Polyphonic Sections of Homophonic Music</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Piano-Inputting.html" title="12.7.4. Inputting" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html" title="12.7.4.5. Changing the Style of Crescendo" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html" title="12.7.4.7. Octave-Change Spanners ("8ve" Signs, "
Ottava Brackets")" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html"><strong>Next</strong></a></li></ul><div class="section" title="12.7.4.6. Polyphonic Sections of Homophonic Music" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphon
ic_Sections_of_Homophonic_Music"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Polyphonic_Sections_of_Homophonic_Music">12.7.4.6. Polyphonic Sections of Homophonic Music</h4></div></div></div><div class="para">
- Sometimes, especially in piano music, a passage of some measures will require polyphonic (multi-Voice) notation in LilyPond, even though most of the music does not. In this case, you would use the following format: [pre]<< { % upper voice notes go here } \\ { % lower voice notes go here } >>[/pre] This is used a few times in both hands in the example score file.
+ Sometimes, especially in piano music, a passage of some measures will require polyphonic (multi-Voice) notation in LilyPond, even though most of the music does not. In this case, you would use the following format:
+<div class="literallayout"><p><<<br />
+ Â Â {<br />
+     % upper voice notes go here<br />
+ Â Â }Â \\<br />
+ Â Â {<br />
+     % lower voice notes go here<br />
+ Â Â }<br />
+ >></p></div>
+ This is used a few times in both hands in the example score file.
</div><div class="para">
When writing these sections in "relative" entry mode, it is a good idea to use the "octave-check" mechanism, at least at the beginning of the lower voice. This is because, when judging the relative starting pitch of the first note of the lower voice, LilyPond judges from the last note of the upper voice - ''not'' the last note before the polyphonic section began.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo.html"><strong>Prev</strong>12.7.4.5. Changing the Style of Crescendo</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Piano-Inputting-Octave_Change_Spanners.html"><strong>Next</strong>12.7.4.7. Octave-Change Spanners ("8ve" Signs, "O...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html
index 86129cd..6b478a9 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html
@@ -5,9 +5,17 @@
</div><div class="para">
The bar-check symbol is <code class="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.
</div><div class="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.
+ This example is correct, and will not trigger a warning:
+<div class="literallayout"><p>\time 4/4<br />
+ c4 c c c |<br />
+ c4 c c c |</p></div>
+ There are four quarter-notes between each bar-check symbol, which is the right number of beats.
</div><div class="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.
+ This example is incorrect, and will trigger a warning:
+<div class="literallayout"><p>\time 4/4<br />
+ c2 c c c |<br />
+ c4 c c c |</p></div>
+ 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.
</div><div class="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, so if you fix the first warning, the rest may disappear.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html"><strong>Prev</strong>12.4.8. Avoiding Errors</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Counterpoint.html"><strong>Next</strong>12.5. Working on a Counterpoint Exercise (Tutoria...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html
index 3144012..0c50c05 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors.html
@@ -7,9 +7,9 @@
</div><div class="para">
The octave-check symbols is <code class="code">=</code>. The symbol appears after the note, and is followed by a comma (<code class="code">,</code>), apostrophe (<code class="code">'</code>), or neither, depending on the intended relative octave of the pitch.
</div><div class="para">
- Here is an example use of the octave-check symbol: [pre]c'='''[/pre]. In this example, the absolute pitch is <code class="code">c'''</code>, which LilyPond knows because of the <code class="code">c</code> at the left, and the <code class="code">'''</code> after the <code class="code">=</code> symbol.
+ Here is an example use of the octave-check symbol: <code class="code">c'='''</code>. In this example, the absolute pitch is <code class="code">c'''</code>, which LilyPond knows because of the <code class="code">c</code> at the left, and the <code class="code">'''</code> after the <code class="code">=</code> symbol.
</div><div class="para">
- How does this example work: [pre]c'=4[/pre]? There is a <code class="code">4</code> after the <code class="code">=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code class="code">c</code>, which LilyPond knows because of the <code class="code">c</code> to the left of the <code class="code">=</code> symbol, and because there is no comma or apostrophe to the right of the <code class="code">=</code> symbol. LilyPond understands the <code class="code">4</code> as "quarter note."
+ How does this example work: <code class="code">c'=4</code> ? There is a <code class="code">4</code> after the <code class="code">=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code class="code">c</code>, which LilyPond knows because of the <code class="code">c</code> to the left of the <code class="code">=</code> symbol, and because there is no comma or apostrophe to the right of the <code class="code">=</code> symbol. LilyPond understands the <code class="code">4</code> as "quarter note."
</div><div class="para">
You should use the octave-check symbol when you need it. New users use the octave-check symbol more frequently than experienced users.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html"><strong>Prev</strong>12.4.7. Source Files and Their Formatting</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol.html"><strong>Next</strong>12.4.8.2. Bar-Check Symbol</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Chords.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Chords.html
index 5dd6b5c..37b67f8 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Chords.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Chords.html
@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>12.4.5. Chords</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-LilyPond-Syntax.html" title="12.4. LilyPond Basics" /><link rel="prev" href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html" title="12.4.4. Simultaneity" /><link rel="next" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html" title="12.4.6. Commands" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to vie
w it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html"><strong>Next</strong></a></li></ul><div class="section" title="12.4.5. Chords" id="sect-Musicians_Guide-LilyPond-Syntax-Chords"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Chords">12.4.5. Chords</h3></div></div></div><div class="para">
Making use of the << and >> idea to indicate simultaneity, if a note has multiple pitches indicated between > and < then LilyPond assumes that they are in a chord together. Notating a single chord with single > < brackets has two advantages: firstly, it is easier to see that they are a chord and not something more complex; secondly, it allows you to enter information more clearly.
</div><div class="para">
- Consider the following examples, which should produce equivalent output: [pre]<<g'4->-5 b d>>[/pre] [pre]<g' b d>4->-5[/pre] With the first example, it is more difficult to see the chord notes, the duration, and what the "5" means. With the second example, it is easy to see that the chord notes are a G, a B, and a D, that they have quarter-note duration, and that the "5" is actually a fingering indication.
+ Consider the following examples, which should produce equivalent output: <code class="code"><<g'4->-5 b d>></code> and <code class="code"><g' b d>4->-5</code> With the first example, it is more difficult to see the chord notes, the duration, and what the <code class="literal">5</code> means. With the second example, it is easy to see that the chord notes are a G, a B, and a D, that they have quarter-note duration, and that the <code class="literal">5</code> is actually a fingering indication.
</div><div class="para">
There is another advantage to using < and > for notation of simple chords: they preserve logical continuity in "relative" mode. The following note will always be notated as relative to the lowest note in the chord, regardless of how many octaves the chord covers. This is not true with << and >>, where where following notes will be notated as relative to the last note between the << and >> .
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity.html"><strong>Prev</strong>12.4.4. Simultaneity</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-LilyPond-Syntax-Commands.html"><strong>Next</strong>12.4.6. Commands</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html
index da032e1..310d1d8 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax-Source_Files.html
@@ -9,7 +9,25 @@
</div><div class="section" title="12.4.7.1. Organizing Files, and Where to Put the Notes" id="sect-Musicians_Guide-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-">12.4.7.1. Organizing Files, and Where to Put the Notes</h4></div></div></div><div class="para">
LilyPond files are constructed as a series of commands. For better or worse, LilyPond's interpreter allows a great deal of flexibility when it comes to source file setup. This can lead to confusion about where things should be done, especially when using automated score-setup tools like Frescobaldi.
</div><div class="para">
- The generic structure of a LilyPond source file is this: [pre]\version "whatever_version" \header { things like title, composer, and so on } \score { \new Staff { notes can go here } \layout { } and so on }[/pre]
+ The generic structure of a LilyPond source file is this:
+<div class="literallayout"><p>\version "whatever_version"<br />
+ <br />
+ \header { things like title, composer, and so on }<br />
+ <br />
+ \score<br />
+ {<br />
+   \new Staff<br />
+ Â Â {<br />
+     notes can go here<br />
+ Â Â }<br />
+ Â Â <br />
+ Â Â \layout<br />
+ Â Â {<br />
+ Â Â }<br />
+ <br />
+   and so on<br />
+ }</p></div>
+
</div><div class="para">
Confusion arises here: for maximum flexibility, LilyPond allows source files to create its own commands. On hearing this, you may think, "Okay that's it - I don't need advanced commands or any of this stuff, so I'm packing it in and just using Finale!" There's no need to do that just yet - commands are easy! Think of commands - whether you wrote them or they were included with LilyPond - as a means of text-substition.
</div><div class="para">
@@ -23,7 +41,31 @@
</div><div class="para">
Frescobaldi (along with most LilyPond users) take advantage of this functionality to provide well-organized, easy-to-use source files.
</div><div class="para">
- Here is a good template source file, that might be created for you by Frescobaldi: [pre]\version "2.12.2" \header { title = "Example" } violin = \relative c'' { \key c \major \time 4/4 % Music follows here. } \score { \new Staff \with { instrumentName = "Violin" } \violin \layout { } }[/pre]
+ Here is a good template source file, that might be created for you by Frescobaldi:
+<div class="literallayout"><p>\version "2.12.2"<br />
+ <br />
+ \header<br />
+ {<br />
+   title = "Example"<br />
+ }<br />
+ <br />
+ violin = \relative c''<br />
+ {<br />
+   \key c \major<br />
+   \time 4/4<br />
+   % Music follows here.<br />
+ }<br />
+ <br />
+ \score<br />
+ {<br />
+   \new Staff \with<br />
+ Â Â Â Â {<br />
+       instrumentName = "Violin"<br />
+ Â Â Â Â }<br />
+ Â Â Â Â \violin<br />
+   \layout { }<br />
+ }</p></div>
+
</div><div class="para">
This source file makes use of many commands, and even defines "violin" for its own use. It may not be easy to see from this simple example, but keeping your notes separated from the formatting of a complex ''\score'' section will greatly improve the readability of both sections. Furthermore, you will easily be able to search through thousands of lines of source file to find the section that you want.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax.html
index e2fd3a1..db55c33 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-LilyPond-Syntax.html
@@ -5,7 +5,7 @@
</div><div class="section" title="12.4.1. Letters Are Pitches" id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">12.4.1. Letters Are Pitches</h3></div></div></div><div class="para">
One letter is all that's required to create a note in LilyPond. There are additional symbols and letters that are added to indicate further details, like the register, and whether the note is "sharp" or "flat."
</div><div class="para">
- 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!
+ 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: <code class="code">beses bes b bis bisis</code> 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!
</div><div class="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 <code class="literal">,</code> and <code class="literal">'</code> (comma and apostrophe) are used to indicate register.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html
index bfbc73c..3bc0031 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>8.2.3. Configuring MIDI Channel Names</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Qtractor-Configuration.html" title="8.2. Configuration" /><link rel="prev" href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html" title="8.2.2. MIDI Options" /><link rel="next" href="sect-Musicians_Guide-Qtractor-Using.html" title="8.3. Using Qtractor" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">Thi
s is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Tab.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Using.html"><strong>Next</strong></a></li></ul><div class="section" title="8.2.3. Configuring MIDI Channel Names" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Configuration-MIDI_Channel_Names">8.2.3. Configuring MIDI Channel Names</h3></div></div></div><d
iv class="para">
- If you're using "<code class="code">FluidSynth</code>" with QSynth, you should tell Qtractor about the SoundFont that you're using. When you do this, you enable Qtractor to help you choose instruments ("patches").
+ If you're using "<span class="application"><strong>FluidSynth</strong></span>" with QSynth, you should tell Qtractor about the SoundFont that you're using. When you do this, you enable Qtractor to help you choose instruments ("patches").
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Click on 'View > Instruments'
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html
index 819d9a8..ee32d07 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>8.3.4. Exporting a Whole File (Audio and MIDI Together)</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-Qtractor-Using.html" title="8.3. Using Qtractor" /><link rel="prev" href="sect-Musicians_Guide-Qtractor-Using-JACK.html" title="8.3.3. Using JACK with Qtractor" /><link rel="next" href="sect-Musicians_Guide-Qtractor-Using-Tips.html" title="8.3.5. Miscellaneous Tips" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../
../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Using-JACK.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Using-Tips.html"><strong>Next</strong></a></li></ul><div class="section" title="8.3.4. Exporting a Whole File (Audio and MIDI Together)" id="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Qtractor-Using-Exporting_Audio_and_MIDI_Together">8.3.4. Exportin
g a Whole File (Audio and MIDI Together)</h3></div></div></div><div class="para">
- Qtractor can export all of a session's audio clips as one audio file, but it cannot export the MIDI clips directly into that audio file. This is because Qtractor does not synthesize audio from MIDI signals, but uses an external MIDI synthesizer to do this. Thankfully, there is a relatively simple way to overcome this, allowing both audio and MIDI to be exported in the same audio file: use Qtractor to record the audio signal produced by the MIDI synthesizer. This procedure only works if you use a MIDI synthesizer (like <code class="code">FluidSynth</code>) which outputs its audio signal to JACK.
+ Qtractor can export all of a session's audio clips as one audio file, but it cannot export the MIDI clips directly into that audio file. This is because Qtractor does not synthesize audio from MIDI signals, but uses an external MIDI synthesizer to do this. Thankfully, there is a relatively simple way to overcome this, allowing both audio and MIDI to be exported in the same audio file: use Qtractor to record the audio signal produced by the MIDI synthesizer. This procedure only works if you use a MIDI synthesizer (like <span class="application"><strong>FluidSynth</strong></span>) which outputs its audio signal to JACK.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Create a new audio track in Qtractor by clicking on 'Track > Add Track'.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Tips-MIDI.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Tips-MIDI.html
index 325c762..8eee2c2 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Tips-MIDI.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Qtractor-Using-Tips-MIDI.html
@@ -5,5 +5,13 @@
</div><div class="para">
In the matrix editor window, you can adjust the "velocity" (loudness) of a note by using the "Resize" MIDI Tool (see <a class="xref" href="sect-Musicians_Guide-Qtractor-Using-MIDI_Tools.html" title="8.3.2. Using the MIDI Matrix Editor's Tools">Section 8.3.2, “Using the MIDI Matrix Editor's Toolsâ€</a> above)
</div><div class="para">
- If you find it difficult to work with Qtractor's matrix editor, but you find it easy to work with LilyPond, you can use this to your advantage. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this: [pre] \score { ... \midi { } } [/pre] You can import LilyPond's MIDI output by clicking 'Track > Import Tracks > MIDI' in Qtractor.
+ If you find it difficult to work with Qtractor's matrix editor, but you find it easy to work with LilyPond, you can use this to your advantage. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this:
+<pre class="programlisting">
+\score
+{
+ ...
+ \midi { }
+}
+</pre>
+ You can import LilyPond's MIDI output by clicking 'Track > Import Tracks > MIDI' in Qtractor.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Qtractor-Using-Tips.html"><strong>Prev</strong>8.3.5. Miscellaneous Tips</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Qtractor-Tutorial.html"><strong>Next</strong>8.4. Creating a MIDI Composition (Tutorial)</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden_and_LilyPond.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden_and_LilyPond.html
index f6e2c22..0ce4db2 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden_and_LilyPond.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Rosegarden_and_LilyPond.html
@@ -1,7 +1,15 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>9.3. Rosegarden and LilyPond</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Rosegarden.html" title="Chapter 9. Rosegarden" /><link rel="prev" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html" title="9.2.2. Setup Rosegarden" /><link rel="next" href="sect-Musicians_Guide-Rosegarden-Tutorial.html" title="9.4. Write a Song in Rosegarden (Tutorial)" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../
../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Tutorial.html"><strong>Next</strong></a></li></ul><div class="section" title="9.3. Rosegarden and LilyPond" id="sect-Musicians_Guide-Rosegarden_and_LilyPond"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Rosegarden_and_LilyPond">9.3. Rosegarden and LilyPond</h2></div></div></div><div class="para">
- Rosegarden and LilyPond can be used together, which can greatly enhace your productivity. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this: [pre] \score { ... \midi { } } [/pre] This MIDI file can then be imported into Rosegarden by selecting from the menu 'File > Import > Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once.
+ Rosegarden and LilyPond can be used together, which can greatly enhace your productivity. LilyPond will output a MIDI-format representation of your score if you include a "midi" section in the "score" section. It should look something like this:
+<pre class="programlisting">
+\score
+{
+ ...
+ \midi { }
+}
+</pre>
+ This MIDI file can then be imported into Rosegarden by selecting from the menu 'File > Import > Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once.
</div><div class="para">
It is also possible to export MIDI tracks to LilyPond format, which can then be edited further or simply turned into a score. To do this, from the menu select 'File > Export > Export LilyPond File'. After you select a location to save the file, Rosegarden allows you to control some score settings while exporting. After exporting a LilyPond file, you should inspect it with Frescobaldi before relying on it to be correct - computers sometimes make mistakes!
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden.html"><strong>Prev</strong>9.2.2. Setup Rosegarden</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Rosegarden-Tutorial.html"><strong>Next</strong>9.4. Write a Song in Rosegarden (Tutorial)</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html
index cfc9858..6207977 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html
@@ -1,7 +1,92 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.11.5. Using Busses: Audio-Rate Example</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11. Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html" title="11.4.11.4.3. Special Note about Control-Rate Busses" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html" title="11.4.12. Ordering and Other Synth Features" /></head
><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.5. Using Busses: Audio-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example"><div class="t
itlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example">11.4.11.5. Using Busses: Audio-Rate Example</h4></div></div></div><div class="para">
- [pre] ( var tutorialDecayPink = { arg outBus = 0, effectBus, direct = 0.5; // controls proportion of "direct" / "processed" sound var source; // Decaying pulses of PinkNoise. source = Decay2.ar( in:Impulse.ar( freq:1, phase:0.25 ), attackTime:0.01, decayTime:0.2, mul:PinkNoise.ar ); Out.ar( outBus, (source*direct) ); // main output Out.ar( effectBus, (source*(1-direct)) ); // effects output }; var tutorialDecaySine = { arg outBus = 0, effectBus, direct = 0.5; // controls proportion of "direct" / "processed" sound var source; // Decaying pulses of a modulating Sine wave. source = Decay2.ar( in:Impulse.ar( freq:0.3, phase: 0.25), attackTime:0.3, decayTime:1, mul:SinOsc.ar( freq:SinOsc.kr( freq:0.2, mul:110, add:440) ) ); Out.ar(outBus, (source*direct) ); // main output Out.ar(effectBus, (source*(1-direct)) ); // effects output }; var tutorialReverb = { arg outBus = 0, inBus; // default outBus is audio interface var input; input = In.ar( inBus, 1 ); 16.do( { input = Allpass
C.ar( in:input, maxdelaytime:0.04, delaytime:{ Rand(0.001,0.04) }.dup, decaytime:3 ) } ); Out.ar( outBus, input ); }; // send synthesis information to the server SynthDef( \tutorialReverb, tutorialReverb ).send( s ); SynthDef( \tutorialDecayPink, tutorialDecayPink ).send( s ); SynthDef( \tutorialDecaySine, tutorialDecaySine ).send( s ); // reserve an effects Bus b = Bus.audio( s ); ) ( x = Synth.new( \tutorialReverb, [\inBus, b] ); y = Synth.before( x, \tutorialDecayPink, [\effectBus, b] ); z = Synth.before( x, \tutorialDecaySine, [\effectBus, b, \outBus, 1] ); ) // Change the balance of "wet" to "dry" y.set( \direct, 1 ); // only direct PinkNoise z.set( \direct, 1 ); // only direct Sine wave y.set( \direct, 0 ); // only reverberated PinkNoise z.set( \direct, 0 ); // only reverberated Sine wave y.set( \direct, 0.5 ); // original PinkNoise z.set( \direct, 0.5 ); // original Sine wave ( // commands to free each Object x.free; x = nil; y.free; y = nil; z.free; z = nil; b.free;
b = nil; ) [/pre]
+
+<pre class="programlisting">
+(
+ var tutorialDecayPink =
+ {
+ arg outBus = 0, effectBus,
+ direct = 0.5; // controls proportion of "direct" / "processed" sound
+ var source;
+
+ // Decaying pulses of PinkNoise.
+ source = Decay2.ar( in:Impulse.ar( freq:1, phase:0.25 ),
+ attackTime:0.01,
+ decayTime:0.2,
+ mul:PinkNoise.ar
+ );
+
+ Out.ar( outBus, (source*direct) ); // main output
+ Out.ar( effectBus, (source*(1-direct)) ); // effects output
+ };
+
+ var tutorialDecaySine =
+ {
+ arg outBus = 0, effectBus,
+ direct = 0.5; // controls proportion of "direct" / "processed" sound
+ var source;
+
+ // Decaying pulses of a modulating Sine wave.
+ source = Decay2.ar( in:Impulse.ar( freq:0.3, phase: 0.25),
+ attackTime:0.3,
+ decayTime:1,
+ mul:SinOsc.ar( freq:SinOsc.kr( freq:0.2, mul:110, add:440) )
+ );
+
+ Out.ar(outBus, (source*direct) ); // main output
+ Out.ar(effectBus, (source*(1-direct)) ); // effects output
+ };
+
+ var tutorialReverb =
+ {
+ arg outBus = 0, inBus; // default outBus is audio interface
+ var input;
+
+ input = In.ar( inBus, 1 );
+
+ 16.do( { input = AllpassC.ar( in:input,
+ maxdelaytime:0.04,
+ delaytime:{ Rand(0.001,0.04) }.dup,
+ decaytime:3
+ )
+ }
+ );
+
+ Out.ar( outBus, input );
+ };
+
+ // send synthesis information to the server
+ SynthDef( \tutorialReverb, tutorialReverb ).send( s );
+ SynthDef( \tutorialDecayPink, tutorialDecayPink ).send( s );
+ SynthDef( \tutorialDecaySine, tutorialDecaySine ).send( s );
+
+ // reserve an effects Bus
+ b = Bus.audio( s );
+)
+
+(
+ x = Synth.new( \tutorialReverb, [\inBus, b] );
+ y = Synth.before( x, \tutorialDecayPink, [\effectBus, b] );
+ z = Synth.before( x, \tutorialDecaySine, [\effectBus, b, \outBus, 1] );
+)
+
+// Change the balance of "wet" to "dry"
+y.set( \direct, 1 ); // only direct PinkNoise
+z.set( \direct, 1 ); // only direct Sine wave
+y.set( \direct, 0 ); // only reverberated PinkNoise
+z.set( \direct, 0 ); // only reverberated Sine wave
+y.set( \direct, 0.5 ); // original PinkNoise
+z.set( \direct, 0.5 ); // original Sine wave
+
+( // commands to free each Object
+ x.free; x = nil;
+ y.free; y = nil;
+ z.free; z = nil;
+ b.free; b = nil;
+)
+</pre>
+
</div><div class="para">
I'm not going to explain this example as extensively as the previous one. It's definitely the most complex example so far. It's better if you figure out what the parts do by playing with them yourself. The bus works by routing audio from the <code class="code">\tutorialDecayPink</code> and <code class="code">\tutorialDecaySine</code> synths into the <code class="code">\tutorialReverb</code> synth. The first two synths can be controlled to put all, none, or some of their signal into the bus (so that it goes through the <code class="code">\tutorialReverb</code> synth), or straight out the audio interface (bypassing the <code class="code">\tutorialReverb</code> synth). Notice that the ''same'' effects processor is operating on two different input sources.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html"><strong>Prev</strong>11.4.11.4.3. Special Note about Control-Rate Buss...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html"><strong>Next</strong>11.4.12. Ordering and Other Synth Features</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html
index 80d517c..23e5e15 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html
@@ -5,11 +5,18 @@
</div><div class="para">
The primary advantage of using Bus Objects is that you don't have to keep track of bus numbers, whether they're being used, and how mnany channels are being routed. For simple input and output of audio-rate signals, you're better off simply remembering the bus numbers
</div><div class="para">
- The "new" message creates a new Bus. Here is the syntax: [pre] var myBusVariable = Bus.audio( serverName, numberOfChannels ); [/pre] or [pre] var myBusVariable = Bus.control( serverName, numberOfChannels ); [/pre] The interpreter takes "numberOfChannels" busses on the "serverName" server, and groups them together for multi-channel use in one Bus Object, which it returns to you. The "numberOfChannels" argument is optional; if you leave it out, the Bus Object will have only one bus, for single-channel signals.
+ The <code class="literal">new</code> message creates a new Bus object. This is the syntax: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Bus.audio</b>(</code><var class="pdparam">serverName</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Bus.control</b>(</code><var class="pdparam">serverName</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> The interpreter takes "numberOfChannels" busses on the "serverName" server, and groups them together for multi-channel use in one Bus Object, which it returns to you. The "numberOfChannels" argument is optional; if you leave it out, the Bus Object will have only one bus, for single-channel signals. You should always assign the object to a variable, or else you have no way to use the bus later:
+<pre class="programlisting">var myBus = Bus.audio( s, 2 );</pre>
+
</div><div class="para">
The interpreter also keeps track of which bus numbers are used for which Bus Objects, so the signals will never get confused. Of course, you can still route signals through those bus numbers without using the Bus Object, but the Bus Class helps us to keep things straight.
</div><div class="para">
The following messages can also be used with Bus Objects: {| ! Message !! Example !! Purpose |- | index || b.index; || Returns the lowest bus number used by this Bus |- | numChannels || b.numChannels; || Returns the number of busses used by this Bus |- | rate || b.rate; || Returns "audio" or "control," depending on whether the Bus is audio-rate or control-rate. |- | server || b.server; || Returns the name of the server that the Bus represents. The default server is "localhost". |}
</div><div class="para">
- When you are done with a Bus, you can release the channels for use by other Bus Objects: [pre] myBusVariable.free; myBusVariable = nil; [/pre] Like when sending the "free" message to a Synth Object, you should set the variable name of a "free'd" Bus to "nil". This will prevent you from accidentally sending audio there after the Bus is released.
+ When you are done with a Bus, you can release the channels for use by other Bus Objects:
+<pre class="programlisting">
+<replaceable>myBusVariable</replaceable>.free;
+<replaceable>myBusVariable</replaceable> = nil;
+</pre>
+ Like when sending the "free" message to a Synth Object, you should set the variable name of a "free'd" Bus to "nil". This will prevent you from accidentally sending audio there after the Bus is released.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Prev</strong>11.4.11.2. Out and In UGens</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html"><strong>Next</strong>11.4.11.4. Using Busses: Control-Rate Example</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html
index 29cc8bc..cc277d3 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html
@@ -1,7 +1,43 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.11.4. Using Busses: Control-Rate Example</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11. Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html" title="11.4.11.3. Bus Objects" /><link rel="next" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html" title="11.4.11.4.2. Why Use a Bus" /></head><body class="draft toc_embeded "><div id="tocdiv" c
lass="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.4. Using Busses: Control-Rate Example" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example"><div class="titlepage"><div><div keep-together.within-column="always">
<h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example">11.4.11.4. Using Busses: Control-Rate Example</h4></div></div></div><div class="para">
- The best way to understand how and when to use a bus is to see them in action. [pre] ( // execute first: prepare the server var busAudioSynth = { arg bus, freqOffset = 0; Out.ar( 0, SinOsc.ar( freq:( In.kr(bus) + freqOffset ), mul:0.1 ) ); }; var busControlSynth = { arg bus, freq = 400; Out.kr( bus, SinOsc.kr( freq:1, mul:( freq/40 ), add:freq ) ); }; SynthDef( \tutorialAudioBus, busAudioSynth ).send( s ); SynthDef( \tutorialControlBus, busControlSynth ).send( s ); b = Bus.control( s ); ) ( // execute second: create synths x = Synth.new( \tutorialControlBus, [\bus, b] ); // control synth y = Synth.after( x, \tutorialAudioBus, [\bus, b] ); // low audio synth z = Synth.after( x, \tutorialAudioBus, [\bus, b, \freqOffset, 200] ); // high audio synth ) ( // commands to free each Object x.free; x = nil; // control synth y.free; y = nil; // low audio synth z.free; z = nil; // high audio synth b.free; b = nil; // control bus ) [/pre] This example contains three stages: prepare t
he server, create the synths, destroy the synths. These three stages will become familiar as you program in SuperCollider, whether or not you use busses frequently. The example is fairly complicated, so the code is explained here:
+ The best way to understand how and when to use a bus is to see them in action.
+<pre class="programlisting">
+( // execute first: prepare the server
+ var busAudioSynth =
+ {
+ arg bus, freqOffset = 0;
+
+ Out.ar( 0, SinOsc.ar( freq:( In.kr(bus) + freqOffset ), mul:0.1 ) );
+ };
+
+ var busControlSynth =
+ {
+ arg bus, freq = 400;
+
+ Out.kr( bus, SinOsc.kr( freq:1, mul:( freq/40 ), add:freq ) );
+ };
+
+ SynthDef( \tutorialAudioBus, busAudioSynth ).send( s );
+ SynthDef( \tutorialControlBus, busControlSynth ).send( s );
+
+ b = Bus.control( s );
+)
+
+( // execute second: create synths
+ x = Synth.new( \tutorialControlBus, [\bus, b] ); // control synth
+ y = Synth.after( x, \tutorialAudioBus, [\bus, b] ); // low audio synth
+ z = Synth.after( x, \tutorialAudioBus, [\bus, b, \freqOffset, 200] ); // high audio synth
+)
+
+( // commands to free each Object
+ x.free; x = nil; // control synth
+ y.free; y = nil; // low audio synth
+ z.free; z = nil; // high audio synth
+ b.free; b = nil; // control bus
+)
+</pre>
+ This example contains three stages: prepare the server, create the synths, destroy the synths. These three stages will become familiar as you program in <span class="application"><strong>SuperCollider</strong></span>, whether or not you use busses frequently. The example is fairly complicated, so the code is explained here:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
"busAudioSynth" Function: Accepts two arguments, and creates an audio-rate <code class="code">SinOsc</code>, routed to the left output channel. The frequency is determined by a control-rate bus given as an argument, and optionally with an offset that can be supplied as an argument.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note.html
@@ -1,9 +1,20 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.11.4.3. Special Note about Control-Rate Busses</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.4.11.4. Using Busses: Control-Rate Example" /><link rel="prev" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html" title="11.4.11.4.2. Why Use a Bus" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html" title="11.4.11.5. U
sing Busses: Audio-Rate Example" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.4.3. Special Note about Control-Rate Busses" id="sect-Musicians_Guide-SC-Basic_Progr
amming-Busses-Control_Rate_Example-Special_Note"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Example-Special_Note">11.4.11.4.3. Special Note about Control-Rate Busses</h5></div></div></div><div class="para">
- Control-rate Bus'ses are a great way to enhance the flexibility of your program. The best part is that, in order to use a control-rate Bus, the UGen doesn't even need to have been written to accomodate it. [pre] { SinOsc.ar( freq:In.kr( controlRateBus, 1 ), mul:0.2 ); }.play; [/pre] Now you've managed to spice up an otherwise-boring synth!
+ Control-rate Bus'ses are a great way to enhance the flexibility of your program. The best part is that, in order to use a control-rate Bus, the UGen doesn't even need to have been written to accomodate it.
+<pre class="programlisting">{ SinOsc.ar( freq:In.kr( controlRateBus, 1 ), mul:0.2 ); }.play;</pre>
+ Now you've managed to spice up an otherwise-boring synth!
</div><div class="para">
- Also, control-rate Bus'ses don't need to be constantly changing. Unlike an audio-rate Bus, a control-rate Bus will hold the last-inputted value until another value is provided. You can the value of a control-rate Bus with the "set" message (and a single argument, which is the value). You can also get the current value, whether created by "set" or a UGen, by using the "get" message, and sending a Function with one argument. [pre] ( var bus = Bus.control( s ); bus.set( 12 ); bus.get( { arg val; val.postln; } ); bus.free; bus = nil; ) [/pre] When running this example, you'll notice that the "12" doesn't get posted until ''after'' the program finishes with "nil". This is because of the '''latency''' between when the interpreter asks the server to do something, and when the server does it. The amount of time it takes for the server to complete a command is usually very small, but as you can see, it can make an important difference to your program. This latency is also the re
ason that you can't call "SynthDef.new( ... )" and "Synth.new( ... )" at the exact same time.
+ Also, control-rate Bus'ses don't need to be constantly changing. Unlike an audio-rate Bus, a control-rate Bus will hold the last-inputted value until another value is provided. You can the value of a control-rate Bus with the "set" message (and a single argument, which is the value). You can also get the current value, whether created by "set" or a UGen, by using the "get" message, and sending a Function with one argument.
+<pre class="programlisting">
+(
+ var bus = Bus.control( s );
+ bus.set( 12 );
+ bus.get( { arg val; val.postln; } );
+ bus.free; bus = nil;
+)
+</pre>
+ When running this example, you'll notice that the "12" doesn't get posted until ''after'' the program finishes with "nil". This is because of the '''latency''' between when the interpreter asks the server to do something, and when the server does it. The amount of time it takes for the server to complete a command is usually very small, but as you can see, it can make an important difference to your program. This latency is also the reason that you can't call "SynthDef.new( ... )" and "Synth.new( ... )" at the exact same time.
</div><div class="para">
This latency is also the reason that we have to provide a single-argument Function as an argument to the "get" Function. Since the Function won't immediately be able to get the value of the bus from the server, we can't expect the value to be returned by the Function. Instead, when "get" gets the value of the bus from the server, it runs the Function that you gave it.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_GuideSC-Basic_Programming-Busses-Control_Rate_Example-Why_Use_a_Bus.html"><strong>Prev</strong>11.4.11.4.2. Why Use a Bus</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Next</strong>11.4.11.5. Using Busses: Audio-Rate Example</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html
@@ -3,9 +3,9 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.11.2. Out and In UGens</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11. Busses" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11. Busses" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html" title="11.4.11.3. Bus Objects" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../t
oc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11.2. Out and In UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens">11.4.11.2. Out and In UGens</h4><
/div></div></div><div class="para">
The "Out" UGen is discussed in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html#sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen" title="11.4.10.1. "Out" UGen">Section 11.4.10.1, “"Out" UGenâ€</a>. 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.
</div><div class="para">
- This is the syntax to use for "Out": [pre] Out.ar( busNumber, audioRateUGen ); [/pre] or [pre] Out.kr( busNumber, controlRateUGen ); [/pre] The UGen enclosed here should not be enclosed in a Function. If the UGen provides multi-channel output, "Out" will automatically route the lowest channel to the specified bus number, the next channel to the next highest bus number, and so on. This way, you can achieve stereo output with one "Out" UGen.
+ This is the syntax to use for the <code class="classname">Out</code> UGen: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Out.ar</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">audioRateUGen</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Out.kr</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">controlRateUGen</var><code>)</code>;</p></div> The UGen enclosed here should not be enclosed in a Function. If the UGen provides multi-channel output, "Out" will automatically route the lowest channel to the specified bus number, the next channel to the next highest bus number, and so on. This way, you can achieve stereo output with one "Out" UGen.
</div><div class="para">
- This is the syntax to use for "In": [pre] In.ar( busNumber, numberOfChannels ); [/pre] or [pre] In.kr( busNumber, numberOfChannels ); [/pre] Whereas "Out" automatically outputs the right number of channels based on how many you provide, "In" requires that you specify how many channels you want it to fetch for you.
+ This is the syntax to use for the <code class="classname">In</code> UGen: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">In.ar</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> or <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">In.kr</b>(</code><var class="pdparam">busNumber</var>, <var class="pdparam">numberOfChannels</var><code>)</code>;</p></div> Whereas "Out" automatically outputs the right number of channels based on how many you provide, "In" requires that you specify how many channels you want it to fetch for you.
</div><div class="para">
When created with this form, both of these UGens automatically connect to the default server, stored in the single-letter "s" variable by the interpreter.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Prev</strong>11.4.11. Busses</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Bus_Objects.html"><strong>Next</strong>11.4.11.3. Bus Objects</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses.html
index a8c9804..2d2aaf6 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Busses.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.11. Busses</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html" title="11.4.10.9. Things to Do with a SynthDef: Set and Free" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html" title="11.4.11.2. Out and In UGens" /></head><body class="draft toc_e
mbeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Out_and_In_UGens.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.11. Busses" id="sect-Musicians_Guide-SC-Basic_Programming-Busses"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Music
ians_Guide-SC-Basic_Programming-Busses">11.4.11. Busses</h3></div></div></div><div class="para">
- SuperCollider busses work just like busses in other audio creation contexts, which work similarly to busses used to transport humans. Busses are used to send audio from one place to another, and in SuperCollider they can also be used to send control-rate signals. Each SuperCollider bus is given an index number, which are integers starting at 0. Audio-rate busses and control-rate busses are independent, and are given an independent set of index numbers. Any number of unique signals can be routed into a bus, and any number of receivers can take signals from a bus - but the signal will be the sum of all the input signals. In other words, if you want to send two different sets of signals, you need two different busses with different index numbers.
+ <span class="application"><strong>SuperCollider</strong></span> busses work just like busses in other audio creation contexts, which work similarly to busses used to transport humans. Busses are used to send audio from one place to another, and in <span class="application"><strong>SuperCollider</strong></span> they can also be used to send control-rate signals. Each <span class="application"><strong>SuperCollider</strong></span> bus is given an index number, which are integers starting at 0. Audio-rate busses and control-rate busses are independent, and are given an independent set of index numbers. Any number of unique signals can be routed into a bus, and any number of receivers can take signals from a bus - but the signal will be the sum of all the input signals. In other words, if you want to send two different sets of signals, you need two different busses with different index numbers.
</div><div class="section" title="11.4.11.1. Audio-Rate Bus Numbers" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Numbers">11.4.11.1. Audio-Rate Bus Numbers</h4></div></div></div><div class="para">
There are special audio-rate busses reserved automatically by the server. These interact with the audio interface, allowing you to get sound from its inputs, and send sound to its outputs. The lowest audio-rate bus numbers are reserved for audio interface outputs, each channel receiving an independent bus. The bus numbers just above those are reserved for audio interface inputs, each channel receiving an independent bus.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html
@@ -1,5 +1,27 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6.3.3. Example</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.4.6.3. LinkedList" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html" title="11.4.6.3.2. Inefficient Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html" title="11.4.6.4. Other Collections" /></head><body class="draft toc_embeded
"><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.3.3. Example" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example"><div class="titlepage"><div><div keep-together.within-column="al
ways"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example">11.4.6.3.3. Example</h5></div></div></div><div class="para">
- This example uses a LinkedList as a queue, adding numbers to the tail, and removing and printing from the head. [pre] ( var tL = LinkedList.new; tL.add( 42 ); tL.add( 89 ); tL.popFirst.postln; // prints 42 tL.add( 256 ); tL.popFirst.postln; // prints 89 tL.add( 900 ); tL.popFirst.postln; // prints 256 tL.popFirst.postln; // prints 900 nil; ) [/pre]
+ This example uses a LinkedList as a queue, adding numbers to the tail, and removing and printing from the head.
+<pre class="programlisting">
+(
+ var tL = LinkedList.new;
+
+ tL.add( 42 );
+ tL.add( 89 );
+
+ tL.popFirst.postln; // prints 42
+
+ tL.add( 256 );
+
+ tL.popFirst.postln; // prints 89
+
+ tL.add( 900 );
+
+ tL.popFirst.postln; // prints 256
+ tL.popFirst.postln; // prints 900
+
+ nil;
+)
+</pre>
+
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Prev</strong>11.4.6.3.2. Inefficient Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Next</strong>11.4.6.4. Other Collections</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6.3. LinkedList</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6. Collections" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html" title="11.4.6.2.5. Examples" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html" title="11.4.6.3.2. Inefficient Functions" /></head><body class="draft toc_embeded "><div id="tocdiv" cla
ss="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Efficient_Functions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.3. LinkedList" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-
Musicians_Guide-SC-Basic_Programming-Collections-LinkedList">11.4.6.3. LinkedList</h4></div></div></div><div class="para">
- Linked lists are very common structures for data management in computer science. They are more efficient than arrays for many tasks, particularly when it's impossible to know how many elements will be required in an array until the program is run. SuperCollider's List Class is implemented with arrays, and it offers nearly the same functionality as the LinkedList class.
+ Linked lists are very common structures for data management in computer science. They are more efficient than arrays for many tasks, particularly when it's impossible to know how many elements will be required in an array until the program is run. <span class="application"><strong>SuperCollider</strong></span>'s List Class is implemented with arrays, and it offers nearly the same functionality as the LinkedList class.
</div><div class="para">
- A true linked list is accessed most efficiently from the start (called the "head" of the list) or the end (called the "tail"). Each element is linked to the one before it, the one after it, or both. SuperCollider's LinkedList Class has elements which are linked both to the preceding and following elements, so it is called a "doubly linked list."
+ A true linked list is accessed most efficiently from the start (called the "head" of the list) or the end (called the "tail"). Each element is linked to the one before it, the one after it, or both. <span class="application"><strong>SuperCollider</strong></span>'s LinkedList Class has elements which are linked both to the preceding and following elements, so it is called a "doubly linked list."
</div><div class="para">
Knowing when to use a LinkedList over a List is a question of efficiency, and for small collections of information, it isn't going to make a big difference - you might as well use a basic List. When you plan to store hundreds or thousands of elements, choosing the right Class becomes more important, and can save a lot of processor time. Here is how to know which Class you should use:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples.html
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@@ -3,17 +3,161 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6.2.5. Examples</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.4.6.2. List" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html" title="11.4.6.2.4. Removing from a List" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html" title="11.4.6.3. LinkedList" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="
tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.2.5. Examples" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-C
ollections-List-Examples">11.4.6.2.5. Examples</h5></div></div></div><div class="para">
The following examples show different ways to use List's.
</div><div class="para">
- [pre] ( var tL = List.new; tL.add( 42 ); tL.add( 820 ); postln( tL.pop ); // outputs 820 tL.add( 7 ); tL.add( 19 ); tL.add( 23 ); postln( tL.pop ); // outputs 23 postln( tL.pop ); // outputs 19 postln( tL.pop ); // outputs 7 postln( tL.pop ); // outputs 42 postln( tL.pop ); // List is empty, so we get "nil" nil; ) [/pre] This code adds numbers to the end of a List, then removes them from the end of the List.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL.add( 42 );
+ tL.add( 820 );
+
+ postln( tL.pop ); // outputs 820
+
+ tL.add( 7 );
+ tL.add( 19 );
+ tL.add( 23 );
+
+ postln( tL.pop ); // outputs 23
+ postln( tL.pop ); // outputs 19
+ postln( tL.pop ); // outputs 7
+ postln( tL.pop ); // outputs 42
+
+ postln( tL.pop ); // List is empty, so we get "nil"
+
+ nil;
+)
+</pre>
+ This code adds numbers to the end of a List, then removes them from the end of the List.
</div><div class="para">
- [pre] ( var tL = List.new; tL.addFirst( 42 ); tL.addFirst( 820 ); postln( tL.pop ); // outputs 42 tL.addFirst( 7 ); tL.addFirst ( 19 ); tL.addFirst ( 23 ); postln( tL.pop ); // outputs 820 postln( tL.pop ); // outputs 7 postln( tL.pop ); // outputs 19 postln( tL.pop ); // outputs 23 postln( tL.pop ); // list is empty, so we get "nil" nil; ) [/pre] This modification of the first example adds numbers to the beginning of a List, then removes them from the end of the List. This is one way to ensure that the List elements are removed in the same order that they are added.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL.addFirst( 42 );
+ tL.addFirst( 820 );
+
+ postln( tL.pop ); // outputs 42
+
+ tL.addFirst( 7 );
+ tL.addFirst ( 19 );
+ tL.addFirst ( 23 );
+
+ postln( tL.pop ); // outputs 820
+ postln( tL.pop ); // outputs 7
+ postln( tL.pop ); // outputs 19
+ postln( tL.pop ); // outputs 23
+
+ postln( tL.pop ); // list is empty, so we get "nil"
+
+ nil;
+)
+</pre>
+ This modification of the first example adds numbers to the beginning of a List, then removes them from the end of the List. This is one way to ensure that the List elements are removed in the same order that they are added.
</div><div class="para">
- [pre] ( var tL = List.new; tL.add( 42 ); tL.add( 820 ); postln( tL.removeAt( 0 ) ); // outputs 42 tL.add( 7 ); tL.add( 19 ); tL.add( 23 ); postln( tL.removeAt( 0 ) ); // outputs 820 postln( tL.removeAt( 0 ) ); // outputs 7 postln( tL.removeAt( 0 ) ); // outputs 19 postln( tL.removeAt( 0 ) ); // outputs 23 // postln( tL.removeAt( 0 ) ); // would cause an error nil; ) [/pre] This modification of the first example adds numbers to the end of a List, then removes from the beginning of the List. This is another way to ensure that the List elements are removed in the same order that they're added. Note that, when the List is empty, using the "removeAt()" Function causes an error, because you try to access a List index which doesn't exist.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL.add( 42 );
+ tL.add( 820 );
+
+ postln( tL.removeAt( 0 ) ); // outputs 42
+
+ tL.add( 7 );
+ tL.add( 19 );
+ tL.add( 23 );
+
+ postln( tL.removeAt( 0 ) ); // outputs 820
+ postln( tL.removeAt( 0 ) ); // outputs 7
+ postln( tL.removeAt( 0 ) ); // outputs 19
+ postln( tL.removeAt( 0 ) ); // outputs 23
+
+// postln( tL.removeAt( 0 ) ); // causes an error!
+
+ nil;
+)
+</pre>
+ This modification of the first example adds numbers to the end of a List, then removes from the beginning of the List. This is another way to ensure that the List elements are removed in the same order that they're added. Note that, when the List is empty, using the "removeAt()" Function causes an error, because you try to access a List index which doesn't exist.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [42,820,7,19,23]; tL.at( 0 ).postln; // outputs 42 tL.at( 1 ).postln; // outputs 820 tL.at( 2 ).postln; // outputs 7 tL.at( 3 ).postln; // outputs 19 tL.at( 4 ).postln; // outputs 23 tL.at( 5 ).postln; // outputs nil tL.at( 6 ).postln; // outputs nil nil; ) [/pre] This example shows another way to add elements to an empty List, which also works for Arrays. Then it shows what happens when you try to access elements beyond the end of a List with the "at()"Function.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL = [42,820,7,19,23];
+
+ tL.at( 0 ).postln; // outputs 42
+ tL.at( 1 ).postln; // outputs 820
+ tL.at( 2 ).postln; // outputs 7
+ tL.at( 3 ).postln; // outputs 19
+ tL.at( 4 ).postln; // outputs 23
+ tL.at( 5 ).postln; // outputs nil
+ tL.at( 6 ).postln; // outputs nil
+
+ nil;
+)
+</pre>
+ This example shows another way to add elements to an empty List, which also works for Arrays. Then it shows what happens when you try to access elements beyond the end of a List with the "at()"Function.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [42,820,7,19,23]; tL.clipAt( 0 ).postln; // outputs 42 tL.clipAt( 1 ).postln; // outputs 820 tL.clipAt( 2 ).postln; // outputs 7 tL.clipAt( 3 ).postln; // outputs 19 tL.clipAt( 4 ).postln; // outputs 23 tL.clipAt( 5 ).postln; // outputs 23 tL.clipAt( 6 ).postln; // outputs 23 nil; ) [/pre] This example shows what happens when you try to access elements beyond the end of a List with the "clipAt()" Function. For index numbers beyond the end of the List, the interpreter will simply return the last element.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL = [42,820,7,19,23];
+
+ tL.clipAt( 0 ).postln; // outputs 42
+ tL.clipAt( 1 ).postln; // outputs 820
+ tL.clipAt( 2 ).postln; // outputs 7
+ tL.clipAt( 3 ).postln; // outputs 19
+ tL.clipAt( 4 ).postln; // outputs 23
+ tL.clipAt( 5 ).postln; // outputs 23
+ tL.clipAt( 6 ).postln; // outputs 23
+
+ nil;
+)
+</pre>
+ This example shows what happens when you try to access elements beyond the end of a List with the "clipAt()" Function. For index numbers beyond the end of the List, the interpreter will simply return the last element.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [42,820,7,19,23]; tL.foldAt( 0 ).postln; // outputs 42 tL.foldAt( 1 ).postln; // outputs 820 tL.foldAt( 2 ).postln; // outputs 7 tL.foldAt( 3 ).postln; // outputs 19 tL.foldAt( 4 ).postln; // outputs 23 tL.foldAt( 5 ).postln; // outputs 19 tL.foldAt( 6 ).postln; // outputs 7 nil; ) [/pre] This example shows what happens when you try to aceess elements beyond the end of a List with the "foldAt()" Function. For index numbers beyond the end of the List, the interpreter will start moving back through the List, towards the first element, "folding" through the List.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL = [42,820,7,19,23];
+
+ tL.foldAt( 0 ).postln; // outputs 42
+ tL.foldAt( 1 ).postln; // outputs 820
+ tL.foldAt( 2 ).postln; // outputs 7
+ tL.foldAt( 3 ).postln; // outputs 19
+ tL.foldAt( 4 ).postln; // outputs 23
+ tL.foldAt( 5 ).postln; // outputs 19
+ tL.foldAt( 6 ).postln; // outputs 7
+
+ nil;
+)
+</pre>
+ This example shows what happens when you try to aceess elements beyond the end of a List with the "foldAt()" Function. For index numbers beyond the end of the List, the interpreter will start moving back through the List, towards the first element, "folding" through the List.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [42,820,7,19,23]; tL.wrapAt( 0 ).postln; // outputs 42 tL.wrapAt( 1 ).postln; // outputs 820 tL.wrapAt( 2 ).postln; // outputs 7 tL.wrapAt( 3 ).postln; // outputs 19 tL.wrapAt( 4 ).postln; // outputs 23 tL.wrapAt( 5 ).postln; // outputs 42 tL.wrapAt( 6 ).postln; // outputs 820 nil; ) [/pre] This example shows what happens when you try to access elements beyond the end of a List with the "wrapAt()" Function. For index numbers beyond the end of the List, the interpreter will start again at the beginning of the List, "wrapping" around to the beginning.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+
+ tL = [42,820,7,19,23];
+
+ tL.wrapAt( 0 ).postln; // outputs 42
+ tL.wrapAt( 1 ).postln; // outputs 820
+ tL.wrapAt( 2 ).postln; // outputs 7
+ tL.wrapAt( 3 ).postln; // outputs 19
+ tL.wrapAt( 4 ).postln; // outputs 23
+ tL.wrapAt( 5 ).postln; // outputs 42
+ tL.wrapAt( 6 ).postln; // outputs 820
+
+ nil;
+)
+</pre>
+ This example shows what happens when you try to access elements beyond the end of a List with the "wrapAt()" Function. For index numbers beyond the end of the List, the interpreter will start again at the beginning of the List, "wrapping" around to the beginning.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Removing.html"><strong>Prev</strong>11.4.6.2.4. Removing from a List</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList.html"><strong>Next</strong>11.4.6.3. LinkedList</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html
index dc0be72..4f3039c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6.2. List</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6. Collections" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6. Collections" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html" title="11.4.6.2.2. Adding to an Existing List" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><ifram
e id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Adding_to_an_Existing_List.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.2. List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Col
lections-List">11.4.6.2. List</h4></div></div></div><div class="para">
- An List is a Collection with an infinite maximum size. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in a List is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in a List, including a List. Lists and Arrays are very similar, but SuperCollider manages some of the dirty work for you, when you use the List Class.
+ An List is a Collection with an infinite maximum size. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in a List is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in a List, including a List. Lists and Arrays are very similar, but <span class="application"><strong>SuperCollider</strong></span> manages some of the dirty work for you, when you use the List Class.
</div><div class="section" title="11.4.6.2.1. Building a List" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-List-Building">11.4.6.2.1. Building a List</h5></div></div></div><div class="para">
There are four methods which instantiate a List. These are all "Class methods," meaning they do not operate on a specific List, but can be used to make any List.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html
index 0bc8591..532ab5b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html
@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6.4. Other Collections</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6. Collections" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html" title="11.4.6.3.3. Example" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7. Repeated Execution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe
" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-LinkedList-Example.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6.4. Other Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collec
tions-Other_Collections">11.4.6.4. Other Collections</h4></div></div></div><div class="para">
- As mentioned previously, the SuperCollider language provides for many more kinds of data structures. The following Collections are useful, but much more complex than those listed above. For usage instructions, refer to the SuperCollider documentation.
+ As mentioned previously, the <span class="application"><strong>SuperCollider</strong></span> language provides for many more kinds of data structures. The following Collections are useful, but much more complex than those listed above. For usage instructions, refer to the <span class="application"><strong>SuperCollider</strong></span> documentation.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Dictionary: stores and allows retrieval of data by arbitrary Objects (for example, by symbols, rather than by index numbers).
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Collections.html
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.6. Collections</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html" title="11.4.5.3. Method One" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html" title="11.4.6.2. List" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="t
ocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.6. Collections" id="sect-Musicians_Guide-SC-Basic_Programming-Collections"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections">11.4.6
. Collections</h3></div></div></div><div class="para">
- A "collection" is just that - a collection of Objects. Collections are simply a means of organizing a large amount of data, without having to assign a variable name for each portion of data. Compared to other programming languages, SuperCollider provides a relatively large number of Collections in the standard library.
+ A "collection" is just that - a collection of Objects. Collections are simply a means of organizing a large amount of data, without having to assign a variable name for each portion of data. Compared to other programming languages, <span class="application"><strong>SuperCollider</strong></span> provides a relatively large number of Collections in the standard library.
</div><div class="para">
We have already seen an example of a Collection as multichannel audio arrays. An Array is a kind of Collection - in object-oriented terminology, the Array Class is a '''sub-class''' of the Collection Class, and inherits its behaviours. Conversely, the Collection Class is the '''super-class''' of the Array Class. The Collection Class itself is not to be used; it is designed to provide common features so that it is easier to write Classes for collections.
</div><div class="para">
As with all the chapters from this point on, it is not necessary to read this in sequence. If you prefer, you can skip it and return later when you need to manage a large set of data.
</div><div class="section" title="11.4.6.1. Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array">11.4.6.1. Array</h4></div></div></div><div class="para">
- Arrays have been traditionally been very popular with programmers. In SuperCollider, they are capable of storing a large number of Objects, and they provide advanced behaviours that are normally not associated with Arrays. They are not as indespensible as they used to be. Most programming languages now provide (or can easily be extended to add) Lists, Trees, and other kinds of data storage structures, which offer more capabilities, and are easier to use and to think about. Users new to programming might find the various kinds of Lists to be more helpful.
+ Arrays have been traditionally been very popular with programmers. In <span class="application"><strong>SuperCollider</strong></span>, they are capable of storing a large number of Objects, and they provide advanced behaviours that are normally not associated with Arrays. They are not as indespensible as they used to be. Most programming languages now provide (or can easily be extended to add) Lists, Trees, and other kinds of data storage structures, which offer more capabilities, and are easier to use and to think about. Users new to programming might find the various kinds of Lists to be more helpful.
</div><div class="section" title="11.4.6.1.1. Building an Array" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Building">11.4.6.1.1. Building an Array</h5></div></div></div><div class="para">
An Array is a Collection with a finite maximum size, determined at declaration time. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in an Array is called "elements," each of which is assigned a specific "index number." Index numbers begin at 0. Any mix of Objects can be stored in an Array, including an Array.
</div><div class="para">
- This example declares an Array, adds some elements, then prints them out. [pre] ( var tA = Array.new( 2 ); // "tA" stands for "testArray" tA = tA.add( 5 ); tA = tA.add( 3 ); tA = tA.add( 17 ); tA.postln; nil; ) [/pre] Notice that Array is a Class, and it must be instantiated before use. Here, the variable <code class="code">tA</code> is assigned an Array with enough space for two objects. Notice that the elements are printed out in the order that you add them to the Array. They are not sorted or shuffled (unless you send a message like <code class="code">scramble</code>). But why did I write <code class="code">tA = tA.add( 17 );</code> instead of <code class="code">tA.add( 17 );</code>? Shouldn't the second method be sufficient for adding an Object to an Array, thereby making the re-assignment unnecessary? It does, but let's see what happens when we take it away: [pre] ( var tA = Array.new( 2 ); // "tA" stands for "testArray" tA.add( 5 ); tA.add( 3 ); tA.add( 17 ); tA.p
ostln; nil; ) [/pre] The <code class="code">17</code> is missing - it doesn't get added into the Array! This is because the Array was only declared with two slots, and you can't add three Objects into two slots. So why did this work the first time? SuperCollider was programmed to help us fit additional items into an Array. If an Array has reached its capacity, SuperCollider will automatically make a new, larger Array for us, and returns that from the <code class="code">add</code> method. Therefore, any time you add an element to an Array, you should always re-assign the result, so that you don't have to worry about whether you exceeded the Array's capacity.
+ This example declares an Array, adds some elements, then prints them out.
+<pre class="programlisting">
+(
+ var tA = Array.new( 2 ); // "tA" stands for "testArray"
+
+ tA = tA.add( 5 );
+ tA = tA.add( 3 );
+ tA = tA.add( 17 );
+
+ tA.postln;
+ nil;
+)
+</pre>
+ Notice that Array is a Class, and it must be instantiated before use. Here, the variable <code class="code">tA</code> is assigned an Array with enough space for two objects. Notice that the elements are printed out in the order that you add them to the Array. They are not sorted or shuffled (unless you send a message like <code class="code">scramble</code>). But why did I write <code class="code">tA = tA.add( 17 );</code> instead of <code class="code">tA.add( 17 );</code>? Shouldn't the second method be sufficient for adding an Object to an Array, thereby making the re-assignment unnecessary? It does, but let's see what happens when we take it away:
+<pre class="programlisting">
+(
+ var tA = Array.new( 2 ); // "tA" stands for "testArray"
+
+ tA.add( 5 );
+ tA.add( 3 );
+ tA.add( 17 );
+
+ tA.postln;
+ nil;
+)
+</pre>
+ The <code class="code">17</code> is missing - it doesn't get added into the Array! This is because the Array was only declared with two slots, and you can't add three Objects into two slots. So why did this work the first time? <span class="application"><strong>SuperCollider</strong></span> was programmed to help us fit additional items into an Array. If an Array has reached its capacity, <span class="application"><strong>SuperCollider</strong></span> will automatically make a new, larger Array for us, and returns that from the <code class="code">add</code> method. Therefore, any time you add an element to an Array, you should always re-assign the result, so that you don't have to worry about whether you exceeded the Array's capacity.
</div></div><div class="section" title="11.4.6.1.2. Accessing an Array's Elements" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Collections-Array-Accessing">11.4.6.1.2. Accessing an Array's Elements</h5></div></div></div><div class="para">
There are two ways to access individual elements within an Array. One way is object-oriented, and one way is more traditional, inspired by programming languages such as the wildly popular "C" language. The object-oriented style uses the <code class="code">at</code> and <code class="code">put</code> methods. The traditional style uses square brackets with an index number.
</div><div class="para">
- The following examples produce equivalent output. The first uses the object-oriented style, and the second uses the traditional style. [pre] ( var tA = Array.new( 3 ); tA = tA.add( 5 ); tA = tA.add( 3 ); tA = tA.add( 17 ); tA.at( 0 ).postln; // outputs 5 tA.at( 1 ).postln; // outputs 3 tA.at( 2 ).postln; // outputs 17 tA.put( 0, 24 ); // assigns 24 to element 0 tA.at( 0 ).postln; // outputs 24 nil; ) [/pre] [pre] ( var tA = Array.new( 3 ); tA = tA.add( 5 ); tA = tA.add( 3 ); tA = tA.add( 17 ); tA[0].postln; // outputs 5 tA[1].postln; // outputs 3 tA[2].postln; // outputs 17 tA[0] = 24 ; // assigns 24 to element 0 tA[0].postln; // outputs 24 nil; ) [/pre] Different people prefer different styles of accessing Arrays.
+ The following examples produce equivalent output. The first uses the object-oriented style, and the second uses the traditional style.
+<pre class="programlisting">
+(
+ var tA = Array.new( 3 );
+
+ tA = tA.add( 5 );
+ tA = tA.add( 3 );
+ tA = tA.add( 17 );
+
+ tA.at( 0 ).postln; // outputs 5
+ tA.at( 1 ).postln; // outputs 3
+ tA.at( 2 ).postln; // outputs 17
+
+ tA.put( 0, 24 ); // assigns 24 to element 0
+
+ tA.at( 0 ).postln; // outputs 24
+
+ nil;
+)
+</pre>
+
+<pre class="programlisting">
+(
+ var tA = Array.new( 3 );
+
+ tA = tA.add( 5 );
+ tA = tA.add( 3 );
+ tA = tA.add( 17 );
+
+ tA[0].postln; // outputs 5
+ tA[1].postln; // outputs 3
+ tA[2].postln; // outputs 17
+
+ tA[0] = 24 ; // assigns 24 to element 0
+
+ tA[0].postln; // outputs 24
+
+ nil;
+)
+</pre>
+ Different people prefer different styles of accessing Arrays.
</div></div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Prev</strong>11.4.5.3. Method One</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-List.html"><strong>Next</strong>11.4.6.2. List</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html
@@ -3,5 +3,14 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.9.3. Addition</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.4.9. Combining Audio; the Mix Class" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html" title="11.4.9.2. Arrays of Arrays" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10. SynthDef and Synth" /></head><body class="draft toc_embeded "><div id="toc
div" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.9.3. Addition" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Music
ians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition">11.4.9.3. Addition</h4></div></div></div><div class="para">
This method of combinine UGen's into two channels uses the addition operator: +
</div><div class="para">
- [pre] { [ ( SinOsc.ar(440, 0, 0.1) + SinOsc.ar( 880, 0, 0.1 ) + SinOsc.ar( 1660, 0, 0.1 ) ), ( SinOsc.ar(440, 0, 0.1) + SinOsc.ar( 880, 0, 0.1 ) + SinOsc.ar( 1660, 0, 0.1 ) ) ]; }.play; [/pre] Notice that, like with the Mix Class, independent "mul" levels are not preserved.
+
+<pre class="programlisting">
+{
+ [
+ ( SinOsc.ar(440, 0, 0.1) + SinOsc.ar( 880, 0, 0.1 ) + SinOsc.ar( 1660, 0, 0.1 ) ),
+ ( SinOsc.ar(440, 0, 0.1) + SinOsc.ar( 880, 0, 0.1 ) + SinOsc.ar( 1660, 0, 0.1 ) )
+ ];
+}.play;
+</pre>
+ Notice that, like with the Mix Class, independent "mul" levels are not preserved.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Prev</strong>11.4.9.2. Arrays of Arrays</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Next</strong>11.4.10. SynthDef and Synth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html
@@ -3,7 +3,25 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.9.2. Arrays of Arrays</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.4.9. Combining Audio; the Mix Class" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.4.9. Combining Audio; the Mix Class" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html" title="11.4.9.3. Addition" /></head><body class="draft toc_embeded "><div id="t
ocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.9.2. Arrays of Arrays" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="s
ect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays">11.4.9.2. Arrays of Arrays</h4></div></div></div><div class="para">
There is another way to combine many UGen's into two channels for stereo output: rather than sending the Array's to the Mix class, combine them into a two-element Array.
</div><div class="para">
- [pre] { [ [ SinOsc.ar(440, 0, 0.1), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.1 ) ], [ SinOsc.ar(440, 0, 0.1), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.1 ) ] ]; }.play; [/pre] Here, a two-element Array is the result of a Function, which gets sent the "play" message. Each of the elements is an equivalent, three-element Array where each element is a UGen.
+
+<pre class="programlisting">
+{
+ [
+ [ SinOsc.ar(440, 0, 0.1), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.1 ) ],
+ [ SinOsc.ar(440, 0, 0.1), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.1 ) ]
+ ];
+}.play;
+</pre>
+ Here, a two-element Array is the result of a Function, which gets sent the "play" message. Each of the elements is an equivalent, three-element Array where each element is a UGen.
</div><div class="para">
- This representation also offers another benefit: each UGen can have a different "mul" value, which will be preserved. [pre] { [ [ SinOsc.ar(440, 0, 0.2), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.05 ) ], [ SinOsc.ar(440, 0, 0.2), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.05 ) ] ]; }.play; [/pre] This sounds much less harsh than the first example. Try it with the Mix Class. Even with the different "mul" values, it sounds the same as the first example! This helps Mix to ensure that the total level doesn't exceed 1.0, but it has the disadvantage that careful level-balancing on your part will be erased.
+ This representation also offers another benefit: each UGen can have a different "mul" value, which will be preserved.
+<pre class="programlisting">
+{
+ [
+ [ SinOsc.ar(440, 0, 0.2), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.05 ) ],
+ [ SinOsc.ar(440, 0, 0.2), SinOsc.ar( 880, 0, 0.1 ), SinOsc.ar( 1660, 0, 0.05 ) ]
+ ];
+}.play;
+</pre>
+ This sounds much less harsh than the first example. Try it with the Mix Class. Even with the different "mul" values, it sounds the same as the first example! This helps Mix to ensure that the total level doesn't exceed 1.0, but it has the disadvantage that careful level-balancing on your part will be erased.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Prev</strong>11.4.9. Combining Audio; the Mix Class</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Next</strong>11.4.9.3. Addition</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html
index 2b56428..cf4e870 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html
@@ -1,13 +1,43 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.9. Combining Audio; the Mix Class</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html" title="11.4.8.5. "In This Case, Do This"" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html" title="11.4.9.2. Arrays of Arrays" /></
head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.9. Combining Audio; the Mix Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix"><div class="titlepage"
><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix">11.4.9. Combining Audio; the Mix Class</h3></div></div></div><div class="para">
- One of the requirements of multi-channel audio is the ability to combine a large number of UGen's into a small number of channels - normally just two. The SuperCollider interpreter allows you to accomplish this in a number of ways, which are explained here.
+ One of the requirements of multi-channel audio is the ability to combine a large number of UGen's into a small number of channels - normally just two. The <span class="application"><strong>SuperCollider</strong></span> interpreter allows you to accomplish this in a number of ways, which are explained here.
</div><div class="section" title="11.4.9.1. The "Mix" Class" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Mix_Class">11.4.9.1. The "Mix" Class</h4></div></div></div><div class="para">
The "Mix" Class allows you to combine a mutli-channel Array into one channel. It's just that simple: you put in an Array of UGens, and out comes a single-channel combination of them.
</div><div class="para">
- Here are the two possible syntaxes for the "Mix" Class: [pre] Mix.new( ArrayOfUGens ); [/pre] and [pre] Mix( ArrayOfUGens ); [/pre] The second form is simply a short-hand version of the first. The "Mix" Class doesn't really create "Mix" Objects either - it's just a Function that combines many UGen's into one.
+ Here are the two possible syntaxes for the "Mix" Class: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Mix.new</b>(</code><var class="pdparam">ArrayOfUGens</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Mix</b>(</code><var class="pdparam">ArrayOfUGens</var><code>)</code>;</p></div> The second form is simply a short-hand version of the first. The <code class="classname">Mix</code> Class doesn't really create "Mix" Objects either - it's just a Function that combines many UGen's into one.
</div><div class="para">
- Here's an example of the "Mix" Class in action: [pre] { Mix( [SinOsc.ar(220, 0, 0.1), SinOsc.ar(440, 0, 0.1), SinOsc.ar(660, 0, 0.1), SinOsc.ar(880, 0, 0.1), SinOsc.ar(850, 0, 0.1), SinOsc.ar(870, 0, 0.1), SinOsc.ar(880, 0, 0.1), SinOsc.ar(885, 0, 0.1), SinOsc.ar(890, 0, 0.1), SinOsc.ar(1000, 0, 0.1)] ); }.play; [/pre] Notice how all of these SinOsc's are heard through the left channel only. The "Mix" Class mixes all the UGen's together into one. You could use a bus to send the audio to both the left and right channels. What happens if we don't use the Mix Class? Try removing the Function, and find out. You only hear some of the SinOsc's. Which ones? The first two, representing the left and right channels. If your audio interface has more than two channels, you may be able to hear more than those first two channels.
+ Here's an example of the "Mix" Class in action:
+<pre class="programlisting">
+{
+ Mix( [SinOsc.ar(220, 0, 0.1),
+ SinOsc.ar(440, 0, 0.1),
+ SinOsc.ar(660, 0, 0.1),
+ SinOsc.ar(880, 0, 0.1),
+ SinOsc.ar(850, 0, 0.1),
+ SinOsc.ar(870, 0, 0.1),
+ SinOsc.ar(880, 0, 0.1),
+ SinOsc.ar(885, 0, 0.1),
+ SinOsc.ar(890, 0, 0.1),
+ SinOsc.ar(1000, 0, 0.1)] );
+}.play;
+</pre>
+ Notice how all of these SinOsc's are heard through the left channel only. The "Mix" Class mixes all the UGen's together into one. You could use a bus to send the audio to both the left and right channels. What happens if we don't use the Mix Class? Try removing the Function, and find out. You only hear some of the SinOsc's. Which ones? The first two, representing the left and right channels. If your audio interface has more than two channels, you may be able to hear more than those first two channels.
</div><div class="para">
- There is another Function offered by the Mix Class, and it is a kind of loop. The Function is called <code class="code">Fill</code>, and it takes two arguments: the number of times to run a Function, and the Function to run. The Function is provided with one argument (like in a "do" loop), which is the number of times the Function has ''already'' been run. [pre] ( var n = 8; var sineFunc = { arg iteration; var freq = 440 + iteration; SinOsc.ar( freq:freq, mul:1/n ); }; { Mix.fill( n, sineFunc ); }.play; ) [/pre] As you can see, the "fill" Function itself is quite simple: you provide the number of UGen's to create, and a Function that creates UGen's. It's the <code class="code">sineFunc</code> Function that is a little confusing. The argument is called "iteration", because it holds how many times the Function has already been run - how many iterations have happened already. It uses this value to help calculate the frequency (stored in a variable called "freq"), and then c
reates a SinOsc UGen. The "mul" argument helps to automatically control the volume level. Since the total volume should be no more than 1.0, the "sineFunc" Function calculates UGen's' volume by dividing 1, the maximum level, by the number of UGen's that will be created. The slowly pulsating volume is part of the acoustic result of this many frequencies being so close together - it is not a hidden effect by SuperCollider.
+ There is another Function offered by the Mix Class, and it is a kind of loop. The Function is called <code class="code">Fill</code>, and it takes two arguments: the number of times to run a Function, and the Function to run. The Function is provided with one argument (like in a "do" loop), which is the number of times the Function has ''already'' been run.
+<pre class="programlisting">
+(
+ var n = 8;
+ var sineFunc =
+ {
+ arg iteration;
+
+ var freq = 440 + iteration;
+ SinOsc.ar( freq:freq, mul:1/n );
+ };
+
+ { Mix.fill( n, sineFunc ); }.play;
+)
+</pre>
+ As you can see, the "fill" Function itself is quite simple: you provide the number of UGen's to create, and a Function that creates UGen's. It's the <code class="code">sineFunc</code> Function that is a little confusing. The argument is called "iteration", because it holds how many times the Function has already been run - how many iterations have happened already. It uses this value to help calculate the frequency (stored in a variable called "freq"), and then creates a SinOsc UGen. The "mul" argument helps to automatically control the volume level. Since the total volume should be no more than 1.0, the "sineFunc" Function calculates UGen's' volume by dividing 1, the maximum level, by the number of UGen's that will be created. The slowly pulsating volume is part of the acoustic result of this many frequencies being so close together - it is not a hidden effect by <span class="application"><strong>SuperCollider</strong></span>.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Prev</strong>11.4.8.5. "In This Case, Do This"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Arrays_of_Arrays.html"><strong>Next</strong>11.4.9.2. Arrays of Arrays</a></li></ul></body></html>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.2.2. Assignment/Equality Mistake</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html" title="11.4.8.2.3
. Equality versus Identity" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.2. Assignment/Equality Mistake" id="sect-Musicians_Guide-SC-Basic_Pro
gramming-Conditional_Execution-Assignment_and_Equality_Mistake"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake">11.4.8.2.2. Assignment/Equality Mistake</h5></div></div></div><div class="para">
- Beware the following pitfall, common to a large number of programming languages: [pre] a == 42; // evaluates to "true" or "false", depending on the value in "a" [/pre] [pre] a = 42; // assigns the value 42 to "a", over-writing the previously-stored value [/pre] One possible work-around is to write the number first. [pre] 42 == a; // evaluates to "true" or "false", depending on the value in "a" [/pre] [pre] 42 = a; // causes an error, because you can't assign a value to a constant number [/pre] This way, if you accidentally leave out one of the "=" signs, the interpreter will stop execution and produce an error, rather than continuing with an unexpected assignment.
+ Beware the following pitfall, common to a large number of programming languages:
+<pre class="programlisting">
+a == 42; // evaluates to "true" or "false", depending on the value in "a"
+a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
+</pre>
+ One possible work-around is to write the number first.
+<pre class="programlisting">
+42 == a; // evaluates to "true" or "false", depending on the value in "a"
+42 = a; // causes an error, because you can't assign a value to a constant number
+</pre>
+ This way, if you accidentally leave out one of the <code class="literal">=</code> signs, the interpreter will stop execution and produce an error, rather than continuing with an unexpected assignment.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html"><strong>Prev</strong>11.4.8.2. Boolean Expressions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Next</strong>11.4.8.2.3. Equality versus Identity</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html
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@@ -3,5 +3,13 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.2. Boolean Expressions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8. Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8. Conditional Execution" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html" title="11.4.8.2.2. Assignment/Equality Mistake" /></head><b
ody class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2. Boolean Expressions" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions"><div class=
"titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions">11.4.8.2. Boolean Expressions</h4></div></div></div><div class="para">
Boolean expressions are expressions which, when executed, result in either "true" or "false". Boolean expressions must use at least one boolean operator (as listed above), or a Function which returns a boolean value. Boolean expressions can also use other operators and Functions.
</div><div class="section" title="11.4.8.2.1. Simple Expressions" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Simple_Boolean">11.4.8.2.1. Simple Expressions</h5></div></div></div><div class="para">
- Here are a few simple boolean expressions. Of course, variables can be used in place of constant numbers: [pre] 5 < 60; // evaluates to "false" [/pre] [pre] 42 != 42; // evaluates to "false" [/pre] [pre] 42 == 42; // evaluates to "true" [/pre] [pre] 0.isPositive; // evaluates to "true" [/pre] [pre] isNegative( -256 ); // evaluates to "true" [/pre]
+ Here are a few simple boolean expressions. Of course, variables can be used in place of constant numbers:
+<pre class="programlisting">
+5 < 60; // evaluates to "false"
+42 != 42; // evaluates to "false"
+42 == 42; // evaluates to "true"
+0.isPositive; // evaluates to "true"
+isNegative( -256 ); // evaluates to "true"
+</pre>
+
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Prev</strong>11.4.8. Conditional Execution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Next</strong>11.4.8.2.2. Assignment/Equality Mistake</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html
@@ -3,11 +3,80 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.5. "In This Case, Do This"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8. Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html" title="11.4.8.4. "Switch Execution to This Path"" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html" title="11.4.9. Combining Audio; the Mix Class" /></
head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.5. "In This Case, Do This"" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements"><div class="
titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements">11.4.8.5. "In This Case, Do This"</h4></div></div></div><div class="para">
"Case" and "switch" structures look similar, but work in subtly different way. A "switch" structure is like a railway switch, allowing one train to be routed onto the right track, according to qualities of the train. A "case" structure, on the other hand, works like somebody trying to decide how to get to work. The person might ask themselves how far they are going, how long they have to get to work, how fast the available options are, what the available options cost, and so on. While in a "switch" structure, the path of execution is determined by examining only one Object, a "case" structure determines the path of execution based on any number of things.
</div><div class="para">
- Here is the syntax of a "case" structure: [pre] case booleanFunction resultFunction booleanFunction resultFunction booleanFunction resultFunction booleanFunction resultFunction ; [/pre]
+ Here is the syntax of a "case" structure:
+<pre class="programlisting">
+case
+ <replaceable>booleanFunction</replaceable> <replaceable>resultFunction</replaceable>
+ <replaceable>booleanFunction</replaceable> <replaceable>resultFunction</replaceable>
+ <replaceable>booleanFunction</replaceable> <replaceable>resultFunction</replaceable>
+ <replaceable>booleanFunction</replaceable> <replaceable>resultFunction</replaceable>
+;
+</pre>
+
</div><div class="para">
- Contemplate the following pseudo-code example, which represents a possible musical sitation, and a good use of the "case" structure. [pre] ( var coolFunction = { case { is there no music playing? AND people are in the room } { play music } { has the same song been playing for too long? OR is the song boring? } { change the song } { has everybody left the room? } { turn off the music } { has a song been requested? } { change to that song } { is the music too loud? } { lower the music's volume } { is the music too quiet? } { raise the music's volume } { is the music too fast? } { lower the music's tempo } { is the music too slow? } { raise the music's tempo } { is everything okay? } { wait for 10 seconds } ; }; ( 5 == 5 ).while( coolFunction ); // executes coolFunction contiuously ) [/pre] It might seem like this example doesn't relate to a real SuperCollider programming situation, but in fact it might. If you could program Function's which determined all of those question
s and all of the answers, this sort of "case" structure would be very helpful in a situation where a computer running SuperCollider were left in a room by itself, and expected to play music whenever anybody entered the room. Since five is always equal to five, the interpreter will run <code class="code">coolFunction</code> forever. If the music needs adjustment in some way, the Function will adjust the music. If everything is okay, then the interpreter will wait for 10 seconds, and then the loop will cause the Function to be re-evaluated. Because many different criteria are evaluated in the "case" structure, this represents an efficient use of the structure.
+ Contemplate the following pseudo-code example, which represents a possible musical sitation, and a good use of the "case" structure.
+<pre class="programlisting">
+(
+ var coolFunction =
+ {
+ case
+ { is there no music playing?
+ AND people are in the room } { play music }
+ { has the same song been playing for too long?
+ OR is the song boring? } { change the song }
+ { has everybody left the room? } { turn off the music }
+ { has a song been requested? } { change to that song }
+ { is the music too loud? } { lower the music's volume }
+ { is the music too quiet? } { raise the music's volume }
+ { is the music too fast? } { lower the music's tempo }
+ { is the music too slow? } { raise the music's tempo }
+ { is everything okay? } { wait for 10 seconds }
+ ;
+ };
+
+ ( 5 == 5 ).while( coolFunction ); // executes coolFunction contiuously
+)
+</pre>
+ It might seem like this example doesn't relate to a real <span class="application"><strong>SuperCollider</strong></span> programming situation, but in fact it might. If you could program Function's which determined all of those questions and all of the answers, this sort of "case" structure would be very helpful in a situation where a computer running <span class="application"><strong>SuperCollider</strong></span> were left in a room by itself, and expected to play music whenever anybody entered the room. Since five is always equal to five, the interpreter will run <code class="code">coolFunction</code> forever. If the music needs adjustment in some way, the Function will adjust the music. If everything is okay, then the interpreter will wait for 10 seconds, and then the loop will cause the Function to be re-evaluated. Because many different criteria are evaluated in the "case" structure, this represents an efficient use of the structure.
</div><div class="para">
- "Case" structures can be used to do the same thing as "switch" structures, but it's usually less elegant solution. Also, it doesn't allow the interpreter to use an speed optimization that it would have used in an equivalent "switch" structure. [pre] ( var grade = 11.rand + 1; // pseudo-randomly chooses 0 to 11, then adds 1 to give 1 to 12 grade = case { 1 == grade; } { "D-" } { 2 == grade; } { "D" } { 3 == grade; } { "D+" } { 4 == grade; } { "C-" } { 5 == grade; } { "C" } { 6 == grade; } { "C+" } { 7 == grade; } { "B-" } { 8 == grade; } { "B" } { 9 == grade; } { "B+" } { 10 == grade; } { "A-" } { 11 == grade; } { "A" } { 12 == grade; } { "A+" } ; ("Your grade is" + grade).postln; nil; ) [/pre] This example is equivalent to one of the "switch" structure examples. This is not a good use of the "case" structure, because it requires a lot of code repetition.
+ "Case" structures can be used to do the same thing as "switch" structures, but it's usually less elegant solution. Also, it doesn't allow the interpreter to use an speed optimization that it would have used in an equivalent "switch" structure.
+<pre class="programlisting">
+(
+ var grade = 11.rand + 1; // pseudo-randomly chooses 0 to 11, then adds 1 to give 1 to 12
+
+ grade =
+ case
+ { 1 == grade; } { "D-" }
+ { 2 == grade; } { "D" }
+ { 3 == grade; } { "D+" }
+ { 4 == grade; } { "C-" }
+ { 5 == grade; } { "C" }
+ { 6 == grade; } { "C+" }
+ { 7 == grade; } { "B-" }
+ { 8 == grade; } { "B" }
+ { 9 == grade; } { "B+" }
+ { 10 == grade; } { "A-" }
+ { 11 == grade; } { "A" }
+ { 12 == grade; } { "A+" }
+ ;
+
+ ("Your grade is" + grade).postln;
+ nil;
+)
+</pre>
+ This example is equivalent to one of the "switch" structure examples. This is not a good use of the "case" structure, because it requires a lot of code repetition.
</div><div class="para">
- Unlike a "switch" structure, a "case" structure will always follow the ''first'' case that evaluates to "true". [pre] ( case { 5 == 5; } { "one".postln; } { 5 == 5; } { "two".postln; } { 5 == 5; } { "three".postln; } ; nil; ) [/pre] This example will always result in "one" being printed.
+ Unlike a "switch" structure, a "case" structure will always follow the ''first'' case that evaluates to "true".
+<pre class="programlisting">
+(
+ case
+ { 5 == 5; } { "one".postln; }
+ { 5 == 5; } { "two".postln; }
+ { 5 == 5; } { "three".postln; }
+ ;
+
+ nil;
+)
+</pre>
+ This example will always result in "one" being printed.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Prev</strong>11.4.8.4. "Switch Execution to This Path"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix.html"><strong>Next</strong>11.4.9. Combining Audio; the Mix Class</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html
@@ -1,5 +1,25 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.2.3. Equality versus Identity</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html" title="11.4.8.2.2. Assignment/Equality Mistake" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html" titl
e="11.4.8.2.4. Logical And and Or" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.3. Equality versus Identity" id="sect-Musicians_Guide-SC
-Basic_Programming-Conditional_Execution-Equality_versus_Identity"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity">11.4.8.2.3. Equality versus Identity</h5></div></div></div><div class="para">
- The identity-equivalence operators are not usually needed. [pre] ( var a = [12,24,48]; var b = [12,24,48]; a == b; // evaluates to "true" a === b; // evaluates to "false" ) [/pre] The "==" operator evaluates to "true" because "a" and "b" represent equivalent Objects - they are ''equal''. The "===" operator evaluates to "false" because "a" and "b" represent different instances of the Objects - they are not ''identical''. [pre] ( var a = [12,24,48]; var b = a; a == b; // evaluates to "true" a === b; // evaluates to "true" ) [/pre] In this case, the "==" operator still evaluates to "true". The "===" operator also evaluates to "true", because "a" and "b" both represent the same Object. When the interpreter evaluates <code class="code">var b = a;</code> in the example above, it actually assigns "b" the same value that "a" stores, not a copy of it.
+ The identity-equivalence operators are not usually needed.
+<pre class="programlisting">
+(
+ var a = [12,24,48];
+ var b = [12,24,48];
+
+ a == b; // evaluates to "true"
+ a === b; // evaluates to "false"
+)
+</pre>
+ The <code class="code">==</code> operator evaluates to <code class="literal">true</code> because <code class="literal">a</code> and <code class="literal">b</code> represent equivalent Objects - they are equal. The <code class="code">===</code> operator evaluates to <code class="literal">false</code> because <code class="literal">a</code> and <code class="literal">b</code> represent different instances of the Objects - they are not identical.
+<pre class="programlisting">
+(
+ var a = [12,24,48];
+ var b = a;
+
+ a == b; // evaluates to "true"
+ a === b; // evaluates to "true"
+)
+</pre>
+ In this case, the <code class="code">==</code> operator still evaluates to <code class="literal">true</code>. The <code class="code">===</code> operator also evaluates to <code class="literal">true</code>, because <code class="literal">a</code> and <code class="literal">b</code> both represent the same Object. When the interpreter evaluates <code class="code">var b = a;</code> in the example above, it actually assigns <code class="literal">b</code> the same value that <code class="literal">a</code> stores, not a copy of it.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Assignment_and_Equality_Mistake.html"><strong>Prev</strong>11.4.8.2.2. Assignment/Equality Mistake</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Next</strong>11.4.8.2.4. Logical And and Or</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html
index 5c730b8..da211b7 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html
@@ -3,13 +3,66 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.3. "If This Is True, Then... "</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8. Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html" title="11.4.8.2.5. Order of Precedence" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html" title="11.4.8.4. "Switch Execution to
This Path"" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.3. "If This Is True, Then... "" id="sect-Musicians_Guide-SC-Basic_Programming-Co
nditional_Execution-If_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements">11.4.8.3. "If This Is True, Then... "</h4></div></div></div><div class="para">
The "if" structure is provided a boolean expression and two Functions. If the expression evaluates to "true", it executes one Function. If the expression evaluates to "false", it executes the other Function.
</div><div class="para">
- Here are the two ways to write an "if" structure: [pre] if ( booleanExpression, trueFunction, falseFunction ); [/pre] and [pre] booleanExpression.if( trueFunction, falseFunction ); [/pre] It's possible to exclude the <code class="code">falseFunction</code>, which is like telling the interpreter, "If the boolean expression is true, then execute this Function. Otherwise, don't execute it."
+ Here are the two ways to write an "if" structure:
+<pre class="programlisting">if ( booleanExpression, trueFunction, falseFunction );</pre>
+ and
+<pre class="programlisting">booleanExpression.if( trueFunction, falseFunction );</pre>
+ It's possible to exclude the <code class="code">falseFunction</code>, which is like telling the interpreter, "If the boolean expression is true, then execute this Function. Otherwise, don't execute it."
</div><div class="para">
- [pre] ( var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List if ( ( true == test ), { "It's true!".postln; }, { "It's false!".postln; } ); nil; ) [/pre] This example prints out a nice message, saying whether <code class="code">test</code> is "true" or "false". Because <code class="code">test</code> is already a boolean value, we don't need to include it in an expression. The "if" statement could have been shortened like this: <code class="code">if ( test, { "It's true!".postln; }, { "It's false!".postln; } );</code>
+
+<pre class="programlisting">
+(
+ var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List
+
+ if ( ( true == test ), { "It's true!".postln; }, { "It's false!".postln; } );
+ nil;
+)
+</pre>
+ This example prints out a nice message, saying whether <code class="code">test</code> is "true" or "false". Because <code class="code">test</code> is already a boolean value, we don't need to include it in an expression. The "if" statement could have been shortened like this: <code class="code">if ( test, { "It's true!".postln; }, { "It's false!".postln; } );</code>
</div><div class="para">
- Suppose we only wanted to be alerted if <code class="code">test</code> is "true". [pre] ( var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List test.if( { "It's true!".postln; } ); nil; ) [/pre] In this example, the alternate "if" syntax is used, where the boolean expression is placed before the parentheses.
+ Suppose we only wanted to be alerted if <code class="code">test</code> is "true".
+<pre class="programlisting">
+(
+ var test = [true,false].choose; // pseudo-randomly chooses one of the elements in the List
+
+ test.if( { "It's true!".postln; } );
+ nil;
+)
+</pre>
+ In this example, the alternate "if" syntax is used, where the boolean expression is placed before the parentheses.
</div><div class="para">
- "If" structures can also be "nested," which is like telling the interpreter, "If this is true, do this; otherwise if this is true, do this; otherwise if this is true, do this." In this relatively simple example of nesting, the interpreter evaluates each "if" structure only if the previous one was "false". [pre] ( var test = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List if( 1 == test, { "It's one!".postln; }, if( 2 == test, { "It's two!".postln; }, if( 3 == test, { "It's three!".postln; } ) ) ); nil; ) [/pre]
+ "If" structures can also be "nested," which is like telling the interpreter, "If this is true, do this; otherwise if this is true, do this; otherwise if this is true, do this." In this relatively simple example of nesting, the interpreter evaluates each "if" structure only if the previous one was "false".
+<pre class="programlisting">
+(
+ var test = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List
+
+ if( 1 == test, { "It's one!".postln; },
+ if( 2 == test, { "It's two!".postln; },
+ if( 3 == test, { "It's three!".postln; } ) ) );
+
+ nil;
+)
+</pre>
+
</div><div class="para">
- This is a more complex example of nesting: [pre] ( var testA = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List var testB = [1,2,3].choose; if( 1 == testA, { ( 1 == testB ).if( { "It's one and one!".postln; }, ( 2 == testB ).if( { "It's one and two!".postln; }, ( 3 == testB ).if( { "It's one and three!".postln; } ) ) ); }, if( 2 == testA, { ( 1 == testB ).if( { "It's two and one!".postln; }, ( 2 == testB ).if( { "It's two and two!".postln; }, ( 3 == testB ).if( { "It's two and three!".postln; } ) ) ); }, if( 3 == testA, { ( 1 == testB ).if( { "It's three and one!".postln; }, ( 2 == testB ).if( { "It's three and two!".postln; }, ( 3 == testB ).if( { "It's three and three!".postln; } ) ) ); } ) ) ); nil; ) [/pre] As you can see, this type of nesting is not easy to figure out - from the standpoint of the original programmer or somebody else who wishes to use your code. In writing this example, it took me several attempts before getting the parenthe
ses and braces right. Usually, if you have a long list of possibilities to test (like the nine in this example), it is better to use a "case" or "switch" structure. Not only does this help to make the code easier to understand, but the SuperCollider interpreter can apply optimizations that make the code run marginally faster.
+ This is a more complex example of nesting:
+<pre class="programlisting">
+(
+ var testA = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List
+ var testB = [1,2,3].choose;
+
+ if( 1 == testA, { ( 1 == testB ).if( { "It's one and one!".postln; },
+ ( 2 == testB ).if( { "It's one and two!".postln; },
+ ( 3 == testB ).if( { "It's one and three!".postln; } ) ) ); },
+ if( 2 == testA, { ( 1 == testB ).if( { "It's two and one!".postln; },
+ ( 2 == testB ).if( { "It's two and two!".postln; },
+ ( 3 == testB ).if( { "It's two and three!".postln; } ) ) ); },
+ if( 3 == testA, { ( 1 == testB ).if( { "It's three and one!".postln; },
+ ( 2 == testB ).if( { "It's three and two!".postln; },
+ ( 3 == testB ).if( { "It's three and three!".postln; } ) ) ); } ) ) );
+
+ nil;
+)
+</pre>
+ As you can see, this type of nesting is not easy to figure out - from the standpoint of the original programmer or somebody else who wishes to use your code. In writing this example, it took me several attempts before getting the parentheses and braces right. Usually, if you have a long list of possibilities to test (like the nine in this example), it is better to use a "case" or "switch" structure. Not only does this help to make the code easier to understand, but the <span class="application"><strong>SuperCollider</strong></span> interpreter can apply optimizations that make the code run marginally faster.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Prev</strong>11.4.8.2.5. Order of Precedence</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html"><strong>Next</strong>11.4.8.4. "Switch Execution to This Path"</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html
index d39074d..4de37f9 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html
@@ -1,13 +1,23 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.2.4. Logical And and Or</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html" title="11.4.8.2.3. Equality versus Identity" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html" title="11.4.8.2.5.Â
Order of Precedence" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.4. Logical And and Or" id="sect-Musicians_Guide-SC-Basic_Programming-Conditi
onal_Execution-Logical_And_and_Or"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or">11.4.8.2.4. Logical And and Or</h5></div></div></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.2.4. Logical And and Or</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html" title="11.4.8.2.3. Equality versus Identity" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html" title="11.4.8.2.5.Â
Order of Precedence" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.4. Logical And and Or" id="sect-Musicians_Guide-SC-Basic_Programming-Conditi
onal_Execution-Logical_And_and_Or"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or">11.4.8.2.4. Logical <code class="literal">And</code> and <code class="literal">Or</code></h5></div></div></div><div class="para">
The logical And and Or operators must receive two boolean arguments. Logical And returns "true" if both of its arguments are "true". Logical Or returns "true" if one of its arguments are "true".
</div><div class="para">
- The following table illustrates how the SuperCollider interpreter will evaluate each of the following situations. {| ! If the left sub-expression evaluates to... !! ... and the right sub-expression evaluates to... !! ... then logical And would evaluate to... !! ... and logical Or would evaluate to... |- | true || false || false || true |- | false || true || false || true |- | true || true || true || true |- | false || false || false || false |}
+ The following table illustrates how the <span class="application"><strong>SuperCollider</strong></span> interpreter will evaluate each of the following situations. {| ! If the left sub-expression evaluates to... !! ... and the right sub-expression evaluates to... !! ... then logical And would evaluate to... !! ... and logical Or would evaluate to... |- | true || false || false || true |- | false || true || false || true |- | true || true || true || true |- | false || false || false || false |}
</div><div class="para">
The interpreter evaluates the expression on the left first, and then the expression on the right ''only'' if it will influence the outcome. This means that, if the left-side expression of a logical Or operator evaluates to "true", the interpreter will not test the right-side expression, because the result will be "true" anyway. Similarly, if the left-side expression of a logical And operator evaluates to "false", the interpreter will not test the right-side expression, because the result will be "false" anyway.
</div><div class="para">
- This can be exploited to help avoid errors like division-by-zero. [pre] ( var x = 5.rand; // assigns a pseudo-random number between 0 and 5 ( x != 0 ) && ( { x = 17 / x; } ); // doesn't divide by x if it would cause division-by-zero x; // the interpreter automatically prints this value after execution ) [/pre] If the left-side expression of the logical And operator is "false", the interpreter doesn't evaluate the right-side expression; it simply moves on to the next expression. If the left-side expression is "true" (meaning that x is not zero), then the right-side expression is evaluated. The right-side expression happens to be a Function which assigns "x" the result of dividing 17 by its previous value. The result of the logical And operation is simply discarded in this case - it doesn't really matter to us. This isn't the most straight-forward code, and there are other ways to avoid division-by-zero. If you use this, it's probably best to include a brief expla
nation of what the code does, as a commment.
+ This can be exploited to help avoid errors like division-by-zero.
+<pre class="programlisting">
+(
+ var x = 5.rand; // assigns a pseudo-random number between 0 and 5
+
+ ( x != 0 ) && ( { x = 17 / x; } ); // doesn't divide by x if it would cause division-by-zero
+
+ x; // the interpreter automatically prints this value after execution
+)
+</pre>
+ If the left-side expression of the logical And operator is "false", the interpreter doesn't evaluate the right-side expression; it simply moves on to the next expression. If the left-side expression is "true" (meaning that x is not zero), then the right-side expression is evaluated. The right-side expression happens to be a Function which assigns "x" the result of dividing 17 by its previous value. The result of the logical And operation is simply discarded in this case - it doesn't really matter to us. This isn't the most straight-forward code, and there are other ways to avoid division-by-zero. If you use this, it's probably best to include a brief explanation of what the code does, as a commment.
</div><div class="para">
- If you run this code many times, you will see that it gives many different results - one of which is zero, which proves that the code works as intended. If SuperCollider divides by zero, the result is "inf", representing infinity. Try modifying the code so that it will divide by zero, and see what happens.
+ If you run this code many times, you will see that it gives many different results - one of which is zero, which proves that the code works as intended. If <span class="application"><strong>SuperCollider</strong></span> divides by zero, the result is "inf", representing infinity. Try modifying the code so that it will divide by zero, and see what happens.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Equality_versus_Identity.html"><strong>Prev</strong>11.4.8.2.3. Equality versus Identity</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html"><strong>Next</strong>11.4.8.2.5. Order of Precedence</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence.html
@@ -3,5 +3,25 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.2.5. Order of Precedence</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html" title="11.4.8.2.4. Logical And and Or" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html" title="11.4.8.3. "If This Is T
rue, Then... "" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.2.5. Order of Precedence" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Executi
on-Order_of_Precedence"><div class="titlepage"><div><div keep-together.within-column="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Order_of_Precedence">11.4.8.2.5. Order of Precedence</h5></div></div></div><div class="para">
In complicated boolean expressions, it's important to clarify the order in which you want sub-expressions to be executed. This order is called the "order of precedence," or "order of operations" (see <em class="citetitle">Order of Operations (Wikipedia)</em>, available at <a href="http://en.wikipedia.org/wiki/Order_of_operations">http://en.wikipedia.org/wiki/Order_of_operations</a> for more information). In computer science, different programming languages enforce different orders of precedence, so you should use parentheses to clarify your intended order, to proactively avoid later confusion. The interpreter will evaluate an expression from left to right, and always fully evaluate parentheses before continuing.
</div><div class="para">
- Even simple expression can benefit from parentheses. These produce the same results: [pre] ( var a = 5 == 5 && 17 != 5; var b = ( 5 == 5 ) && ( 17 != 5 ); // parentheses help to clarify a == b; // evaluates to "true" ) [/pre] [pre] ( var a = 5.isPositive && isNegative( 6 ) || 12 + 5 * 42 - 1 > 18 ; var b = ( 5.isPositive && isNegative( 6 ) ) || ( ((12 + 5) * 42 - 1) > 18 ); // parentheses help to clarify a && b; // evaluates to "true" ) [/pre] And perhaps even more surprisingly... [pre] ( 12 + 5 * 42 - 1 ) != ( (12 + 5) * 42 - 1 ); [/pre] ... evaluates to "false"! They're equal - the interpreter doesn't follow the standard mathematical order of precedence rules! SuperCollider evaluates from left to right, so it's important to clarify to the interpreter what you mean. Where would you put parentheses so that SuperCollider evaluates the expression as per the standard mathematical order of precedence rules, with multiplication b
efore addition and subtraction?
+ Even simple expression can benefit from parentheses. These produce the same results:
+<pre class="programlisting">
+(
+ var a = 5 == 5 && 17 != 5;
+ var b = ( 5 == 5 ) && ( 17 != 5 ); // parentheses help to clarify
+
+ a == b; // evaluates to "true"
+)
+</pre>
+
+<pre class="programlisting">
+(
+ var a = 5.isPositive && isNegative( 6 ) || 12 + 5 * 42 - 1 > 18 ;
+ var b = ( 5.isPositive && isNegative( 6 ) ) || ( ((12 + 5) * 42 - 1) > 18 ); // parentheses help to clarify
+
+ a && b; // evaluates to "true"
+)
+</pre>
+ And perhaps even more surprisingly...
+<pre class="programlisting">( 12 + 5 * 42 - 1 ) != ( (12 + 5) * 42 - 1 );</pre>
+ ... evaluates to "false"! They're equal - the interpreter doesn't follow the standard mathematical order of precedence rules! <span class="application"><strong>SuperCollider</strong></span> evaluates from left to right, so it's important to clarify to the interpreter what you mean. Where would you put parentheses so that <span class="application"><strong>SuperCollider</strong></span> evaluates the expression as per the standard mathematical order of precedence rules, with multiplication before addition and subtraction?
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Logical_And_and_Or.html"><strong>Prev</strong>11.4.8.2.4. Logical And and Or</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Next</strong>11.4.8.3. "If This Is True, Then... "</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements.html
@@ -3,11 +3,77 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8.4. "Switch Execution to This Path"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8. Conditional Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html" title="11.4.8.3. "If This Is True, Then... "" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html" title="11.4.8.5. "In This
Case, Do This"" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8.4. "Switch Execution to This Path"" id="sect-Musicians_Guide-SC-Basic_Programming-Co
nditional_Execution-Switch_Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Switch_Statements">11.4.8.4. "Switch Execution to This Path"</h4></div></div></div><div class="para">
A "switch" structure can be most easily understood by comparison to a switch in a railway line. As a train approaches a railway switch, an operator inspects the train, and decides whether it should be going to the passenger station, the freight station, or the garage for storage. A "switch" structure - like a railways switch, can only act on one Object at a time, but the Object can be a Collection, allowing you to compare multiple things at once. Each case is tested with the boolean equality operator before being executed.
</div><div class="para">
- Here is the syntax of a "switch" statement: [pre] case( compareThis, toThis1, { doThis; }, toThis2, { doThis; }, toThis3, { doThis; } ); [/pre] You can include any number of cases. Notice that there is no comma after the last case, and that I've put the concluding ");" on a separate line with the same indentation as the word "case", so that it's easy to see.
+ Here is the syntax of a "switch" statement:
+<pre class="programlisting">
+case( compareThis,
+ toThis1, { doThis; },
+ toThis2, { doThis; },
+ toThis3, { doThis; }
+);
+</pre>
+ You can include any number of cases. Notice that there is no comma after the last case, and that I've put the concluding ");" on a separate line with the same indentation as the word "case", so that it's easy to see.
</div><div class="para">
- The following example shows a simple switch. [pre] ( var grade = 11.rand + 1; // pseudo-randomly chooses 0 to 11, then adds 1 to give 1 to 12 grade = switch( grade, 1, { "D-" }, 2, { "D" }, 3, { "D+" }, 4, { "C-" }, 5, { "C" }, 6, { "C+" }, 7, { "B-" }, 8, { "B" }, 9, { "B+" }, 10, { "A-" }, 11, { "A" }, 12, { "A+" } ); ("Your grade is" + grade).postln; nil; ) [pre] The code picks a pseudo-random number between 1 and 12, then uses a "switch" structure to convert that number into a letter-grade, assigning it to the same <code class="code">grade</code> variable. Then, it adds the "Your grade is" string to the value of <code class="code">grade</code> (with a space between), and prints that result.
+ The following example shows a simple switch.
+<pre class="programlisting">
+(
+ var grade = 11.rand + 1; // pseudo-randomly chooses 0 to 11, then adds 1 to give 1 to 12
+
+ grade =
+ switch( grade,
+ 1, { "D-" },
+ 2, { "D" },
+ 3, { "D+" },
+ 4, { "C-" },
+ 5, { "C" },
+ 6, { "C+" },
+ 7, { "B-" },
+ 8, { "B" },
+ 9, { "B+" },
+ 10, { "A-" },
+ 11, { "A" },
+ 12, { "A+" }
+ );
+
+ ("Your grade is" + grade).postln;
+ nil;
+)
+</pre>
+ The code picks a pseudo-random number between 1 and 12, then uses a "switch" structure to convert that number into a letter-grade, assigning it to the same <code class="code">grade</code> variable. Then, it adds the "Your grade is" string to the value of <code class="code">grade</code> (with a space between), and prints that result.
</div><div class="para">
- This example avoids the complex nested "if" structure from above. [pre] ( var testA = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List var testB = [1,2,3].choose; switch( [testA,testB], [1,1], { "It's one and one!".postln; }, [1,2], { "It's one and two!".postln; }, [1,3], { "It's one and three!".postln; }, [2,1], { "It's two and one!".postln; }, [2,2], { "It's two and two!".postln; }, [2,3], { "It's two and thre!".postln; }, [3,1], { "It's three and one!".postln; }, [3,2], { "It's three and two!".postln; }, [3,3], { "It's three and three!".postln; } ); nil; ) [/pre] This is an elegant way to inspect two otherwise-separate variables. Remember that the first argument to "switch" (in this case, it's <code class="code">[testA,tesB]</code>) is compared to the first argument of possibe result with the equality operator: "==".
+ This example avoids the complex nested "if" structure from above.
+<pre class="programlisting">
+(
+ var testA = [1,2,3].choose; // pseudo-randomly chooses one of the elements in the List
+ var testB = [1,2,3].choose;
+
+ switch( [testA,testB],
+ [1,1], { "It's one and one!".postln; },
+ [1,2], { "It's one and two!".postln; },
+ [1,3], { "It's one and three!".postln; },
+ [2,1], { "It's two and one!".postln; },
+ [2,2], { "It's two and two!".postln; },
+ [2,3], { "It's two and thre!".postln; },
+ [3,1], { "It's three and one!".postln; },
+ [3,2], { "It's three and two!".postln; },
+ [3,3], { "It's three and three!".postln; }
+ );
+
+ nil;
+)
+</pre>
+ This is an elegant way to inspect two otherwise-separate variables. Remember that the first argument to "switch" (in this case, it's <code class="code">[testA,tesB]</code>) is compared to the first argument of possibe result with the equality operator: "==".
</div><div class="para">
- When evaluating which switch to use, the SuperCollider interpreter will always apply the ''last'' one that evaluates to "true". [pre] ( switch( 5, 5, { "one".postln; }, 5, { "two".postln; }, 5, { "three".postln; } ); nil; ) [/pre] All of these cases are true, but this will always result in "three" being printed.
+ When evaluating which switch to use, the <span class="application"><strong>SuperCollider</strong></span> interpreter will always apply the ''last'' one that evaluates to "true".
+<pre class="programlisting">
+(
+ switch( 5,
+ 5, { "one".postln; },
+ 5, { "two".postln; },
+ 5, { "three".postln; }
+ );
+
+ nil;
+)
+</pre>
+ All of these cases are true, but this will always result in "three" being printed.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-If_Statements.html"><strong>Prev</strong>11.4.8.3. "If This Is True, Then... "</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Case_Statements.html"><strong>Next</strong>11.4.8.5. "In This Case, Do This"</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html
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@@ -1,7 +1,7 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.8. Conditional Execution</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html" title="11.4.7.5. Other Loops" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions" /></head><body class="draft toc_embeded "><div id="t
ocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.8. Conditional Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sec
t-Musicians_Guide-SC-Basic_Programming-Conditional_Execution">11.4.8. Conditional Execution</h3></div></div></div><div class="para">
- Conditional execution tells the SuperCollider interpreter to execute code on the condition that something is true. SuperCollider offers three conditional execution structures, "if", "switch", and "case" statements. Each of these structures is controlled by one or a series of "boolean expressions" (sometimes called "conditional expressions"), which are composed of "boolean operators".
+ Conditional execution tells the <span class="application"><strong>SuperCollider</strong></span> interpreter to execute code on the condition that something is true. <span class="application"><strong>SuperCollider</strong></span> offers three conditional execution structures, "if", "switch", and "case" statements. Each of these structures is controlled by one or a series of "boolean expressions" (sometimes called "conditional expressions"), which are composed of "boolean operators".
</div><div class="section" title="11.4.8.1. Boolean Operators" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators">11.4.8.1. Boolean Operators</h4></div></div></div><div class="para">
Boolean operators evaluate to "true" or "false", and are most useful in boolean expressions, where they help to determine which portion of a program to execute.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html
index 5291aa1..bfcc935 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html
@@ -1,5 +1,5 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.14.4. The SuperCollider Website</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.4.14. How to Get Help" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html" title="11.4.14.3. Email" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html" title="11.4.15. Legal Attribution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="
tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.14.4. The SuperCollider Website" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_
Programming-Getting_Help-SuperCollider_Website">11.4.14.4. The SuperCollider Website</h4></div></div></div><div class="para">
- The <em class="citetitle">SuperCollider Website</em> at SourceForge (<a href="http://supercollider.sourceforge.net/">http://supercollider.sourceforge.net/</a>) offers links to many resources.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.14.4. The SuperCollider Website</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.4.14. How to Get Help" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html" title="11.4.14.3. Email" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html" title="11.4.15. Legal Attribution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="
tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.14.4. The SuperCollider Website" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_
Programming-Getting_Help-SuperCollider_Website">11.4.14.4. The <span class="application"><strong>SuperCollider</strong></span> Website</h4></div></div></div><div class="para">
+ The <em class="citetitle"><span class="application"><strong>SuperCollider</strong></span> Website</em> at SourceForge (<a href="http://supercollider.sourceforge.net/">http://supercollider.sourceforge.net/</a>) offers links to many resources.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Email.html"><strong>Prev</strong>11.4.14.3. Email</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html"><strong>Next</strong>11.4.15. Legal Attribution</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html
index 58fdc01..08f1753 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html
@@ -1,11 +1,11 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.14. How to Get Help</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html" title="11.4.13.6. Working with the TempoClock Class" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html" title="11.4.14.2. Internet Relay Chat (IRC)" /></head><body class="draft toc_emb
eded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.14. How to Get Help" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Mus
icians_Guide-SC-Basic_Programming-Getting_Help">11.4.14. How to Get Help</h3></div></div></div><div class="para">
- Knowing how to get help in SuperCollider is going to play a large part in determining whether you have a productive or frustrating relationship with the language and its components. There are a large number of ways to get help, but here are some of the most helpful.
- </div><div class="section" title="11.4.14.1. Use the SuperCollider Help Files" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files">11.4.14.1. Use the SuperCollider Help Files</h4></div></div></div><div class="para">
- SuperCollider comes with an extensive collection of help files, which contain the answers to most of your problems. The difficulty will be in finding the solution - it's not always located where you think it is, because it often isn't the solution you think it will be.
+ Knowing how to get help in <span class="application"><strong>SuperCollider</strong></span> is going to play a large part in determining whether you have a productive or frustrating relationship with the language and its components. There are a large number of ways to get help, but here are some of the most helpful.
+ </div><div class="section" title="11.4.14.1. Use the SuperCollider Help Files" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-Official_Help_Files">11.4.14.1. Use the <span class="application"><strong>SuperCollider</strong></span> Help Files</h4></div></div></div><div class="para">
+ <span class="application"><strong>SuperCollider</strong></span> comes with an extensive collection of help files, which contain the answers to most of your problems. The difficulty will be in finding the solution - it's not always located where you think it is, because it often isn't the solution you think it will be.
</div><div class="para">
On Fedora Linux systems, the main help file is located at [file:///usr/share/SuperCollider/Help/Help.html this URL], and it can be viewed in any web browser. It may also be helpful to browse the directory structure of the help files, located at [file:///usr/share/SuperCollider/Help this URL], which can also be viewed in your web browser.
</div><div class="para">
- If you're looking for further explanations of material in this tutorial, you could start by reviewing the [file:///usr/share/SuperCollider/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html Getting Started With SuperCollider] tutorial, on which this document is based. The sections in that tutorial roughly correspond to the sections in this guide.
+ If you're looking for further explanations of material in this tutorial, you could start by reviewing the [file:///usr/share/SuperCollider/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html Getting Started With <span class="application"><strong>SuperCollider</strong></span>] tutorial, on which this document is based. The sections in that tutorial roughly correspond to the sections in this guide.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Prev</strong>11.4.13.6. Working with the TempoClock Class</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-IRC.html"><strong>Next</strong>11.4.14.2. Internet Relay Chat (IRC)</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html
index 22d1164..1a01a32 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution.html
@@ -1,9 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.15. Legal Attribution</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html" title="11.4.14.4. The SuperCollider Website" /><link rel="next" href="sect-Musicians_Guide-SuperCollider-Composing.html" title="11.5. Composing with SuperCollider" /></head><body class="draft toc_embeded "><div id=
"tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Composing.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.15. Legal Attribution" id="sect-Musicians_Guide-SC-Basic_Programming-Legal_Attribution"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC
-Basic_Programming-Legal_Attribution">11.4.15. Legal Attribution</h3></div></div></div><div class="para">
- This portion of the Fedora Musicians' Guide, called "Basic Programming with SuperCollider," is a derivative work of the, <em class="citetitle">Getting Started With SuperCollider</em> tutorial. The original work was created by Scott Wilson, James Harkins, and the SuperCollider development team. It is available on the internet from <a href="http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html">http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html</a>.
+ This portion of the Fedora Musicians' Guide, called "Basic Programming with <span class="application"><strong>SuperCollider</strong></span>," is a derivative work of the, <em class="citetitle">Getting Started With <span class="application"><strong>SuperCollider</strong></span></em> tutorial. The original work was created by Scott Wilson, James Harkins, and the <span class="application"><strong>SuperCollider</strong></span> development team. It is available on the internet from <a href="http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html">http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html</a>.
</div><div class="para">
- The original document, like all SuperCollider documentation, is licenced under the Creative Commons' <em class="citetitle">Attribution Share-Alike 3.0 Unported Licence</em>, accessible on the internet at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>.
+ The original document, like all <span class="application"><strong>SuperCollider</strong></span> documentation, is licenced under the Creative Commons' <em class="citetitle">Attribution Share-Alike 3.0 Unported Licence</em>, accessible on the internet at <a href="http://creativecommons.org/licenses/by-sa/3.0/">http://creativecommons.org/licenses/by-sa/3.0/</a>.
</div><div class="para">
- This usage should in no way be construed as an endorsement of the Fedora Project, the Musicians' Guide, or any other party by the SuperCollider development team.
+ This usage should in no way be construed as an endorsement of the Fedora Project, the Musicians' Guide, or any other party by the <span class="application"><strong>SuperCollider</strong></span> development team.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help-SuperCollider_Website.html"><strong>Prev</strong>11.4.14.4. The SuperCollider Website</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Composing.html"><strong>Next</strong>11.5. Composing with SuperCollider</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html
index 4f3229b..89c048d 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html
@@ -1,5 +1,32 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.5.3. Method One</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.4.5. Multichannel Audio" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html" title="11.4.5.2. Multichannel Expansion" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html" title="11.4.6. Collections" /></head><body class="draft toc_embeded "><div id="tocdiv" class=
"toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.5.3. Method One" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_G
uide-SC-Basic_Programming-Multichannel_Audio-Method_One">11.4.5.3. Method One</h4></div></div></div><div class="para">
- Believe it or not, you now know enough to understand a slightly-modified version of the first part of "Method One," a SuperCollider program written and heavily commented specifically for use with this Guide. You should <code class="code">play</code> this example, and experiment with changing the frequencies, volumes, and so on. The fully-commented version provides a full explanation of how the Function works. [pre] { // sets up the frequencies of both channels var frequencyL = SinOsc.kr( freq:10, mul:200, add:400 ); // oscillating var frequencyR = SinOsc.kr( freq:1, mul:50, add:150 ); // oscillating var frequencyL_drone = SinOsc.kr( freq:0.03, mul:20, add:100 ); // drone var frequencyR_drone = SinOsc.kr( freq:0.01, mul:20, add:210 ); // drone // changes the volume of the oscillating part in the left channel var volumeL = SinOsc.kr( freq:0.5, mul:0.02, add:0.03 ); // left channel var left = [ SinOsc.ar( freq:frequencyL, mul:volumeL ), // this is the oscillating part SinOs
c.ar( freq:[frequencyL_drone,2*frequencyL_drone], mul:0.02 ), // the rest make up the drone SinOsc.ar( freq:[5*frequencyL_drone,7*frequencyL_drone], mul:0.005 ), SinOsc.ar( freq:[13*frequencyL_drone,28*frequencyL_drone], mul:0.001 ) ]; // right channel var right = [ SinOsc.ar( freq:frequencyR, mul:0.1 ), // this is the oscillating part SinOsc.ar( freq:[frequencyR_drone,2*frequencyR_drone], mul:0.02 ), // the rest make up the drone SinOsc.ar( freq:4*frequencyR_drone, mul:0.005 ), SinOsc.ar( freq:[64*frequencyR_drone,128*frequencyR_drone], mul:0.01 ) ]; // high frequencies! [ left, right ]; } [/pre]
+ Believe it or not, you now know enough to understand a slightly-modified version of the first part of "Method One," a <span class="application"><strong>SuperCollider</strong></span> program written and heavily commented specifically for use with this Guide. You should <code class="code">play</code> this example, and experiment with changing the frequencies, volumes, and so on. The fully-commented version provides a full explanation of how the Function works.
+<pre class="programlisting">
+{
+ // sets up the frequencies of both channels
+ var frequencyL = SinOsc.kr( freq:10, mul:200, add:400 ); // oscillating
+ var frequencyR = SinOsc.kr( freq:1, mul:50, add:150 ); // oscillating
+ var frequencyL_drone = SinOsc.kr( freq:0.03, mul:20, add:100 ); // drone
+ var frequencyR_drone = SinOsc.kr( freq:0.01, mul:20, add:210 ); // drone
+
+ // changes the volume of the oscillating part in the left channel
+ var volumeL = SinOsc.kr( freq:0.5, mul:0.02, add:0.03 );
+
+ // left channel
+ var left = [ SinOsc.ar( freq:frequencyL, mul:volumeL ), // this is the oscillating part
+ SinOsc.ar( freq:[frequencyL_drone,2*frequencyL_drone], mul:0.02 ), // the rest make up the drone
+ SinOsc.ar( freq:[5*frequencyL_drone,7*frequencyL_drone], mul:0.005 ),
+ SinOsc.ar( freq:[13*frequencyL_drone,28*frequencyL_drone], mul:0.001 ) ];
+
+ // right channel
+ var right = [ SinOsc.ar( freq:frequencyR, mul:0.1 ), // this is the oscillating part
+ SinOsc.ar( freq:[frequencyR_drone,2*frequencyR_drone], mul:0.02 ), // the rest make up the drone
+ SinOsc.ar( freq:4*frequencyR_drone, mul:0.005 ),
+ SinOsc.ar( freq:[64*frequencyR_drone,128*frequencyR_drone], mul:0.01 ) ]; // high frequencies!
+
+ [ left, right ];
+}
+</pre>
+
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Prev</strong>11.4.5.2. Multichannel Expansion</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Collections.html"><strong>Next</strong>11.4.6. Collections</a></li></ul></body></html>
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.5.2. Multichannel Expansion</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.4.5. Multichannel Audio" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.4.5. Multichannel Audio" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html" title="11.4.5.3. Method One" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.5.2. Multichannel Expansion" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title"
id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion">11.4.5.2. Multichannel Expansion</h4></div></div></div><div class="para">
- You can automatically create multiple UGens by providing an Array as one of the parameters. The SuperCollider interpreter will automatically create multichannel UGens as a result.
+ You can automatically create multiple UGens by providing an Array as one of the parameters. The <span class="application"><strong>SuperCollider</strong></span> interpreter will automatically create multichannel UGens as a result.
</div><div class="para">
- The following two examples produce equivalent output: [pre]{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;[/pre] [pre]{ SinOsc.ar( [440, 440], 0, 0.2 ); }.play;[/pre] The second example can be easier to read, because it is obvious that only the frequency is changing - or in this case, that nothing is changing. This technique is more useful in a situation like the following: [pre]{ SinOsc.ar( [[440, 445, 450, 455, 460, 465], [440, 445, 450, 455, 460, 465]], 0, 0.2 ); }.play;[/pre] That's not exactly easy to read, but it's easier to figure out than the most obvious alternative: [pre]{ [[ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 445, 0, 0.2 ), SinOsc.ar( 450, 0, 0.2 ), SinOsc.ar( 455, 0, 0.2 ), SinOsc.ar( 460, 0, 0.2 ), SinOsc.ar( 465, 0, 0.2 ) ], [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 445, 0, 0.2 ), SinOsc.ar( 450, 0, 0.2 ), SinOsc.ar( 455, 0, 0.2 ), SinOsc.ar( 460, 0, 0.2 ), SinOsc.ar( 465, 0, 0.2 ) ]]; }.play;[/pre] More importantly, multichannel expansion
gives us another tool to avoid repetition. Repetition is the enemy of correctness - it's so much more difficult to find a mistake in the second example than in the first!
+ The following two examples produce equivalent output:
+<pre class="programlisting">{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;</pre>
+
+<pre class="programlisting">{ SinOsc.ar( [440, 440], 0, 0.2 ); }.play;</pre>
+ The second example can be easier to read, because it is obvious that only the frequency is changing - or in this case, that nothing is changing. This technique is more useful in a situation like the following:
+<pre class="programlisting">
+{ SinOsc.ar( [[440, 445, 450, 455, 460, 465],
+ [440, 445, 450, 455, 460, 465]],
+ 0,
+ 0.2 ); }.play;
+</pre>
+ That's not exactly easy to read, but it's easier to figure out than the most obvious alternative:
+<pre class="programlisting">
+{
+ [[ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 445, 0, 0.2 ), SinOsc.ar( 450, 0, 0.2 ), SinOsc.ar( 455, 0, 0.2 ), SinOsc.ar( 460, 0, 0.2 ), SinOsc.ar( 465, 0, 0.2 ) ],
+ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 445, 0, 0.2 ), SinOsc.ar( 450, 0, 0.2 ), SinOsc.ar( 455, 0, 0.2 ), SinOsc.ar( 460, 0, 0.2 ), SinOsc.ar( 465, 0, 0.2 ) ]];
+}.play;
+</pre>
+ More importantly, multichannel expansion gives us another tool to avoid repetition. Repetition is the enemy of correctness - it's so much more difficult to find a mistake in the second example than in the first!
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Prev</strong>11.4.5. Multichannel Audio</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Method_One.html"><strong>Next</strong>11.4.5.3. Method One</a></li></ul></body></html>
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@@ -3,9 +3,19 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.5. Multichannel Audio</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html" title="11.4.4.2. The "play" Function" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html" title="11.4.5.2. Multichannel Expansion" /></
head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.5. Multichannel Audio" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio"><div class="titlepage">
<div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio">11.4.5. Multichannel Audio</h3></div></div></div><div class="para">
By now you must be growing tired of the left-side-only sounds being produced by the examples.
</div><div class="section" title="11.4.5.1. Stereo Array" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Stereo_Array">11.4.5.1. Stereo Array</h4></div></div></div><div class="para">
- The easiest way to output multichannel audio in SuperCollider is to use a kind of "Collection" (defined later) called an "Array." SuperCollider will theoretically handle any number of audio output channels, but by default is usually only configured for two-channel stereo audio. Since humans have only two ears, this is sufficient for most tasks! A multichannel array is notated like this: <code class="code">[ LeftChannel.ar( x ), RightChannel.ar( y ) ]</code>
+ The easiest way to output multichannel audio in <span class="application"><strong>SuperCollider</strong></span> is to use a kind of "Collection" (defined later) called an "Array." <span class="application"><strong>SuperCollider</strong></span> will theoretically handle any number of audio output channels, but by default is usually only configured for two-channel stereo audio. Since humans have only two ears, this is sufficient for most tasks! A multichannel array is notated like this: <code class="code">[ LeftChannel.ar( x ), RightChannel.ar( y ) ]</code>
</div><div class="para">
- Here is our simple sine oscillator expanded to produce stereo audio: [pre]{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;[/pre] Not much has changed, except that the audio we hear is now being emitted from both the left and right channels. Change the frequency of one of the sine oscillators to <code class="code">450</code> and the difference will become much more apparent.
+ Here is our simple sine oscillator expanded to produce stereo audio:
+<pre class="programlisting">{ [ SinOsc.ar( 440, 0, 0.2 ), SinOsc.ar( 440, 0, 0.2 ) ]; }.play;</pre>
+ Not much has changed, except that the audio we hear is now being emitted from both the left and right channels. Change the frequency of one of the sine oscillators to <code class="code">450</code> and the difference will become much more apparent.
</div><div class="para">
- Multichannel arrays can also be combined with each other, like this: [pre] { var one = [ x, y, z ]; var two = [ a, b, c ]; [ one, two ]; } [/pre] If <code class="code">a</code>, <code class="code">b</code>, <code class="code">c</code>, <code class="code">x</code>, <code class="code">y</code>, and <code class="code">z</code> were all audio-rate UGens, this Function could be <code class="code">play</code>'ed. It would produce stereo audio, and each channel would have three independent UGens.
+ Multichannel arrays can also be combined with each other, like this:
+<pre class="programlisting">
+{
+ var one = [ x, y, z ];
+ var two = [ a, b, c ];
+ [ one, two ];
+}
+</pre>
+ If <code class="code">a</code>, <code class="code">b</code>, <code class="code">c</code>, <code class="code">x</code>, <code class="code">y</code>, and <code class="code">z</code> were all audio-rate UGens, this Function could be <code class="code">play</code>'ed. It would produce stereo audio, and each channel would have three independent UGens.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Prev</strong>11.4.4.2. The "play" Function</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio-Multichannel_Expansion.html"><strong>Next</strong>11.4.5.2. Multichannel Expansion</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html
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@@ -3,7 +3,7 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.3.4. Choosing a Paradigm</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.4.3. Object-Oriented SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html" title="11.4.3.3. Object-Oriented Programming" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html" title="11.4.4. Sound-Making Functions" /></head><body clas
s="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.3.4. Choosing a Paradigm" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm"><div class="titlepage"><div><div k
eep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm">11.4.3.4. Choosing a Paradigm</h4></div></div></div><div class="para">
At this point you may begin worrying about which programming paradigm you should choose, and when. The answer is unhelpful: "Whichever seems best for the task."
</div><div class="para">
- Let's expand on this. If you are primarily a programmer, then you probably already know how to choose the best paradigm and algorithm for the task. If you are a musician, then you probably just want your program to produce the output that you want (in this case, a particular set of sounds). Part of the beauty of SuperCollider's flexibility is that it allows you to produce the same output in different ways. As a musician this means that, as long as your program works as you want it to work, it doesn't matter how you write it. Experience will teach you more and less effective ways of doing things, but there is no need for rules.
+ Let's expand on this. If you are primarily a programmer, then you probably already know how to choose the best paradigm and algorithm for the task. If you are a musician, then you probably just want your program to produce the output that you want (in this case, a particular set of sounds). Part of the beauty of <span class="application"><strong>SuperCollider</strong></span>'s flexibility is that it allows you to produce the same output in different ways. As a musician this means that, as long as your program works as you want it to work, it doesn't matter how you write it. Experience will teach you more and less effective ways of doing things, but there is no need for rules.
</div><div class="para">
Even so, here are some guidelines that will help you to start thinking about music programs:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.3.2. Functional Programming</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.4.3. Object-Oriented SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.4.3. Object-Oriented SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html" title="11.4.3.3. Object-Oriented Programming" /></head><body c
lass="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.3.2. Functional Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming"><div class="titlepage"><div><div
keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming">11.4.3.2. Functional Programming</h4></div></div></div><div class="para">
- Functional programming is also easy to understand, but it can be a little bit more difficult to think about complex tasks. Functional programs use Functions to complete all of their work. This is not strictly possible in SuperCollider: it is more imperative than functional, but the creative use of Functions can easily solve some problems that are difficult to write with an imperative approach.
+ Functional programming is also easy to understand, but it can be a little bit more difficult to think about complex tasks. Functional programs use Functions to complete all of their work. This is not strictly possible in <span class="application"><strong>SuperCollider</strong></span>: it is more imperative than functional, but the creative use of Functions can easily solve some problems that are difficult to write with an imperative approach.
</div><div class="para">
The following example is an extension of the "Imperative" example. Pretend that the following Functions exist, and do the following tasks:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -9,9 +9,15 @@
</div></li><li class="listitem"><div class="para">
add : adds together the numbers given as arguments, returning the sum
</div></li></ul></div>
- [pre] ( postln( add( getinput, getinput ) ); ) [/pre]
+
+<pre class="programlisting">
+(
+ postln( add( getinput, getinput ) );
+)
+</pre>
+
</div><div class="para">
- SuperCollider will always execute the inner-most Functions first. This is how the interpreter executes the single-line program above:
+ <span class="application"><strong>SuperCollider</strong></span> will always execute the inner-most Functions first. This is how the interpreter executes the single-line program above:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Execute the left call of <code class="code">getinput</code>
</div></li><li class="listitem"><div class="para">
@@ -23,5 +29,5 @@
</div></li></ol></div>
</div><div class="para">
- Both imperative and functional programming have advantages and disadvantages. SuperCollider will allow you to use either approach, or a mix of both, when solving problems.
+ Both imperative and functional programming have advantages and disadvantages. <span class="application"><strong>SuperCollider</strong></span> will allow you to use either approach, or a mix of both, when solving problems.
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diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming.html
@@ -1,19 +1,19 @@
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<body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.3.3. Object-Oriented Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming">
<div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Object-Oriented_Programming">11.4.3.3. Object-Oriented Programming</h4></div></div></div><div class="para">
- 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.
+ Object-oriented programming is more difficult to think about than imperative or functional. When using this paradigm (mode of thought), almost everything in <span class="application"><strong>SuperCollider</strong></span> 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.
</div><div class="para">
Class names always begin with an uppercase letter.
</div><div class="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 class="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'''.
+ 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 <span class="application"><strong>SuperCollider</strong></span>, you generate a specific instance like this: <code class="code">var bike = Bicycle.new;</code> All <span class="application"><strong>SuperCollider</strong></span> 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'''.
</div><div class="para">
- There are certain things that Bicycles are designed to do: turn the wheels, turn the handlebar, raise and lower the seat, and so on. You can cause these things to happen by providing a certain input to a real-world Bicycle: if you want to turn the wheels, you might push the pedals. In SuperCollider, you cause things to happen by '''sending a message''' to the Object that tells it what you want: if you have a Bicycle, you might turn the wheels like this: <code class="code">bike.turnTheWheels;</code> When you do this, you are actually executing the <code class="code">turnTheWheels</code> Function, which is defined by the abstract Bicycle class. Because it doesn't make sense to turn the wheels of all bicycles in existence, you don't call the '''method''' (a synonym for "Function") from the Bicycle class itself, but from the particular instance whose wheels you want to turn. The proper way to access instance variables is by using instance methods.
+ There are certain things that Bicycles are designed to do: turn the wheels, turn the handlebar, raise and lower the seat, and so on. You can cause these things to happen by providing a certain input to a real-world Bicycle: if you want to turn the wheels, you might push the pedals. In <span class="application"><strong>SuperCollider</strong></span>, you cause things to happen by '''sending a message''' to the Object that tells it what you want: if you have a Bicycle, you might turn the wheels like this: <code class="code">bike.turnTheWheels;</code> When you do this, you are actually executing the <code class="code">turnTheWheels</code> Function, which is defined by the abstract Bicycle class. Because it doesn't make sense to turn the wheels of all bicycles in existence, you don't call the '''method''' (a synonym for "Function") from the Bicycle class itself, but from the particular instance whose wheels you want to turn. The proper way to access instance variables is by u
sing instance methods.
</div><div class="para">
- If this kind of programming is new to you, it might seem extremely difficult. It can be intimidating at first, but it is actually not too difficult to understand once you start to use it. In fact, you have already been using it! Remember the <code class="code">postln</code> command that was described earlier as a special kind of Function? It's actually a Function defined by SuperCollider's abstract class <code class="code">Object</code>, which defines a set of messages that can be passed to ''any'' SuperCollider Object. Because most things in SuperCollider are Objects, we can send them the <code class="code">postln</code> message, and they will understand that it means to print themselves in the "SuperCollider output" pane.
+ If this kind of programming is new to you, it might seem extremely difficult. It can be intimidating at first, but it is actually not too difficult to understand once you start to use it. In fact, you have already been using it! Remember the <code class="code">postln</code> command that was described earlier as a special kind of Function? It's actually a Function defined by <span class="application"><strong>SuperCollider</strong></span>'s abstract class <code class="code">Object</code>, which defines a set of messages that can be passed to ''any'' <span class="application"><strong>SuperCollider</strong></span> Object. Because most things in <span class="application"><strong>SuperCollider</strong></span> are Objects, we can send them the <code class="code">postln</code> message, and they will understand that it means to print themselves in the "<span class="application"><strong>SuperCollider</strong></span> output" pane.
</div><div class="para">
- Why is it that all Objects respond to the <code class="code">postln</code> message? SuperCollider classes are allowed to belong to other SuperCollider classes, of which they are a part. Consider the Bicycle class again. It is a kind of vehicle, and philosophers might say that "things that are members of the bicycle class are also members of the vehicle class." That is, real-world bicycles share certain characteristics with other real-world objects that are classified as "vehicles." The bicycle class is a "sub-class" of the vehicle class, and it '''inherits''' certain properties from the vehicles class. SuperCollider allows this behaviour too, and calls it '''inheritance'''. In SuperCollider, since all classes define Objects, they are all automatically considered to be a sub-class of the class called <code class="code">Object</code>. All classes therefore inherit certain characteristics from the <code class="code">Object</code> class, like knowing how to respond to the <
code class="code">postln</code> message.
+ Why is it that all Objects respond to the <code class="code">postln</code> message? <span class="application"><strong>SuperCollider</strong></span> classes are allowed to belong to other <span class="application"><strong>SuperCollider</strong></span> classes, of which they are a part. Consider the Bicycle class again. It is a kind of vehicle, and philosophers might say that "things that are members of the bicycle class are also members of the vehicle class." That is, real-world bicycles share certain characteristics with other real-world objects that are classified as "vehicles." The bicycle class is a "sub-class" of the vehicle class, and it '''inherits''' certain properties from the vehicles class. <span class="application"><strong>SuperCollider</strong></span> allows this behaviour too, and calls it '''inheritance'''. In <span class="application"><strong>SuperCollider</strong></span>, since all classes define Objects, they are all automatically considered to be a sub
-class of the class called <code class="code">Object</code>. All classes therefore inherit certain characteristics from the <code class="code">Object</code> class, like knowing how to respond to the <code class="code">postln</code> message.
</div><div class="para">
equivalent notation: <code class="literal">5.postln</code> versus <code class="literal">postln( 5 )</code>
</div><div class="para">
- You still don't know how to write new Classes and Objects in SuperCollider, but knowing how to use them is more than enough for now. By the time you need to write your own Classes, you will probably prefer to use the official SuperCollider help files, anyway.
+ You still don't know how to write new Classes and Objects in <span class="application"><strong>SuperCollider</strong></span>, but knowing how to use them is more than enough for now. By the time you need to write your own Classes, you will probably prefer to use the official <span class="application"><strong>SuperCollider</strong></span> help files, anyway.
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diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html
@@ -1,7 +1,18 @@
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.3. Object-Oriented SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html" title="11.4.2.6. Variable Scope" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html" title="11.4.3.2. Functional Programming" /></head><body class="draft
toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.3. Object-Oriented SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented"><div class="titlepage"><div><div keep-together.within-col
umn="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented SuperCollider</h3></div></div></div><div class="para">
- SuperCollider is difficult to describe precisely, because its syntax allows great flexibility. There are many different ways to accomplish the same task. Each one is subtly different, and gives you a different set of possibilities, but there is often no "best solution." One of the advantages to this is that it easily allows three "programming paradigms," although one is used much more often than the others.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.3. Object-Oriented SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html" title="11.4.2.6. Variable Scope" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html" title="11.4.3.2. Functional Programming" /></head><body class="draft
toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.3. Object-Oriented SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented"><div class="titlepage"><div><div keep-together.within-col
umn="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented">11.4.3. Object-Oriented <span class="application"><strong>SuperCollider</strong></span></h3></div></div></div><div class="para">
+ <span class="application"><strong>SuperCollider</strong></span> is difficult to describe precisely, because its syntax allows great flexibility. There are many different ways to accomplish the same task. Each one is subtly different, and gives you a different set of possibilities, but there is often no "best solution." One of the advantages to this is that it easily allows three "programming paradigms," although one is used much more often than the others.
</div><div class="section" title="11.4.3.1. Imperative Programming" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Imperative_Programming">11.4.3.1. Imperative Programming</h4></div></div></div><div class="para">
- Imperative programming is easy to understand: it is simply a list of commands, like this: [pre] ( var a, b, c; a = 12; b = 25; c = a + b; a.postln; ) [/pre] Declare the variables, set the variables, do a calculation, and print the result of the calculation. This is a simple example, and a simple model, but it is very difficult to escape completely. After all, humans think of large problems in terms of algorithms (the instructions needed to do something). Computers solve large problems, so being able to program them with a series of instructions makes sense.
+ Imperative programming is easy to understand: it is simply a list of commands, like this:
+<pre class="programlisting">
+(
+ var a, b, c;
+
+ a = 12;
+ b = 25;
+ c = a + b;
+ a.postln;
+)
+</pre>
+ Declare the variables, set the variables, do a calculation, and print the result of the calculation. This is a simple example, and a simple model, but it is very difficult to escape completely. After all, humans think of large problems in terms of algorithms (the instructions needed to do something). Computers solve large problems, so being able to program them with a series of instructions makes sense.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Prev</strong>11.4.2.6. Variable Scope</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Functional_Programming.html"><strong>Next</strong>11.4.3.2. Functional Programming</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Ordering_and_Other_Features.html
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@@ -5,9 +5,47 @@
</div><div class="section" title="11.4.12.1. Ordering" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering">11.4.12.1. Ordering</h4></div></div></div><div class="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 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. For more information on samples, sample rate, and sample format, see <a class="xref" href="sect-Musicians_Guide-Sample_Rate_and_Sample_Format.html" title="1.3. Sample, Sample Rate, Sample Format, and Bit Rate">Section 1.3, “Sample, Sample Rate, Sample Format, and Bit Rateâ€</a>.
</div><div class="para">
- Consider the following example: [pre] { SinOsc.ar( freq:SinOsc.kr( freq:1, add:500, mul:10 ), mul:0.2 ); }.play; [/pre] What happens if the server calculates the audio-rate UGen first? It wouldn't have a frequency. This is another one of those things which the interpreter takes care of automatically when we run Function rather than create a Synth. Since it's often preferable to use a synth instead of a Function, we need some way to control the order of execution. The interpreter and the server are only so good at guessing what we need, after all.
+ Consider the following example:
+<pre class="programlisting">{ SinOsc.ar( freq:SinOsc.kr( freq:1, add:500, mul:10 ), mul:0.2 ); }.play;</pre>
+ What happens if the server calculates the audio-rate UGen first? It wouldn't have a frequency. This is another one of those things which the interpreter takes care of automatically when we run Function rather than create a Synth. Since it's often preferable to use a synth instead of a Function, we need some way to control the order of execution. The interpreter and the server are only so good at guessing what we need, after all.
</div><div class="para">
- There are two methods in the Synth Class that we can use to inform the server about our desired order of execution: "before" and "after". They represent a small extension to the "new" method, and they work like this: [pre] Synth.before( variableHoldingSynth, nameOfSynthDef, ListOfArguments ); [/pre] and [pre] Synth.after( variableHoldingSynth, nameOfSynthDef, ListOfArguments ); [/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 <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.4.11.4. Using Busses: Control-Rate Example">Section 11.4.11.4, “Using Busses: Control-Rate Exampleâ€</a>, 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 = { arg bus, freqOffset = 0; Out.ar( 0, SinOsc.ar( freq:( In.kr(bus) + freqOffset ), mul:0.1 ) ); }; var busControlSynth = { arg bus, freq = 400; Out.kr( bus, SinOsc.kr( freq:1, mul:( freq/40 ), add:freq ) ); }; SynthDef( \tutorialAudioBus, busAudioSynth ).send( s ); SynthDef( \tutorialControlBus, busControlSynth ).send( s ); b = Bus.control( s ); ) ( // execute second: create synths x = Synth.new( \tutorialControlBus, [\bus, b] ); // control synth y = Synth.after( x, \tutorialAudioBus, [\bus, b] ); // low audio synth z = Synth.after( x, \tutorialAudioBus, [\bus, b, \freqOffset, 200] ); // high audio synth ) ( // commands to free each Object x.free; x = nil; // control synth y.free; y = nil; // low audio synth z.free; z = nil; // high audio synth b.free; b = nil; // control bus ) [/pre] In this case, the control-rate synth is created before the audio-rate synths - probably the easier wa
y to think about it. Even so, it's possible to add them in the opposite order with a little extra thought.
+ There are two methods in the <code class="classname">Synth</code> Class that we can use to inform the server about our desired order of execution: "before" and "after". They represent a small extension to the "new" method, and they work like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.before</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> and <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.after</b>(</code><var class="pdparam">variableHoldingSynth</var>, <var class="pdparam">nameOfSynthDef</var>, <var class="pdparam">ListOfArguments</var><code>)</code>;</p></div> 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" j
ust as in the "add" method. This example, from <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example.html" title="11.4.11.4. Using Busses: Control-Rate Example">Section 11.4.11.4, “Using Busses: Control-Rate Exampleâ€</a>, uses the "after" Function to ensure that the control-rate synth is calculated before the audio-rate synths that depend on it.
+<pre class="programlisting">
+( // execute first: prepare the server
+ var busAudioSynth =
+ {
+ arg bus, freqOffset = 0;
+
+ Out.ar( 0, SinOsc.ar( freq:( In.kr(bus) + freqOffset ), mul:0.1 ) );
+ };
+
+ var busControlSynth =
+ {
+ arg bus, freq = 400;
+
+ Out.kr( bus, SinOsc.kr( freq:1, mul:( freq/40 ), add:freq ) );
+ };
+
+ SynthDef( \tutorialAudioBus, busAudioSynth ).send( s );
+ SynthDef( \tutorialControlBus, busControlSynth ).send( s );
+
+ b = Bus.control( s );
+)
+
+( // execute second: create synths
+ x = Synth.new( \tutorialControlBus, [\bus, b] ); // control synth
+ y = Synth.after( x, \tutorialAudioBus, [\bus, b] ); // low audio synth
+ z = Synth.after( x, \tutorialAudioBus, [\bus, b, \freqOffset, 200] ); // high audio synth
+)
+
+( // commands to free each Object
+ x.free; x = nil; // control synth
+ y.free; y = nil; // low audio synth
+ z.free; z = nil; // high audio synth
+ b.free; b = nil; // control bus
+)
+</pre>
+ 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.
</div><div class="para">
The other example from <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11. Busses">Section 11.4.11, “Bussesâ€</a> use 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.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Busses-Audio_Rate_Bus_Example.html"><strong>Prev</strong>11.4.11.5. Using Busses: Audio-Rate Example</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Changing_the_Order.html"><strong>Next</strong>11.4.12.2. Changing the Order</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html
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@@ -1,5 +1,5 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.7.5. Other Loops</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7. Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html" title="11.4.7.4. "Do This While"" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html" title="11.4.8. Conditional Execution" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><ifra
me id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.5. Other Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-">11.4.7.
5. Other Loops</h4></div></div></div><div class="para">
- The default language provides two other loop structures, both of which are designed to iterate over a series of integer values: "for" loops and "forBy" loops. Their use is more limited than "do" loops. They are explained in the SuperCollider documentation.
+ The default language provides two other loop structures, both of which are designed to iterate over a series of integer values: "for" loops and "forBy" loops. Their use is more limited than "do" loops. They are explained in the <span class="application"><strong>SuperCollider</strong></span> documentation.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Prev</strong>11.4.7.4. "Do This While"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html"><strong>Next</strong>11.4.8. Conditional Execution</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html
@@ -3,9 +3,45 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.7.3. Example "Do" Loops</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7. Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html" title="11.4.7.2. "Do This, This Many Times"" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html" title="11.4.7.4. "Do This While"" /></head><body class="draft toc_embeded "><div id="toc
div" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.3. Example "Do" Loops" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musician
s_Guide-SC-Basic_Programming-Repeating-Do_Examples">11.4.7.3. Example "Do" Loops</h4></div></div></div><div class="para">
These examples illustrate different ways to use "do" loops for trivial tasks.
</div><div class="para">
- [pre] ( var tL = List.new; tL = [27, 46, 102, 81, 34, 0, 39, 26, 203, 62]; do( tL, { arg item, rep; [rep, item].postln; }; ); nil; ) [/pre] This example is of the first syntax shown. For each element in <code class="code">tL</code>, the interpreter executes the Function once, giving it ''first'' the corresponding element of the Collection, and ''then'' the iteration counter, which happens to be equal to the element's List index number.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+ tL = [27, 46, 102, 81, 34, 0, 39, 26, 203, 62];
+
+ do( tL, { arg item, rep; [rep, item].postln; }; );
+
+ nil;
+)
+</pre>
+ This example is of the first syntax shown. For each element in <code class="code">tL</code>, the interpreter executes the Function once, giving it ''first'' the corresponding element of the Collection, and ''then'' the iteration counter, which happens to be equal to the element's List index number.
</div><div class="para">
- [pre] ( var tL = List.new; var myFunc = { arg item; item.postln; }; tL = [27, 46, 102, 81, 34, 0, 39, 26, 203, 62]; tL.do( myFunc; ); nil; ) [/pre] This example does several things differently, but maintains the same basic functionality as the previous example. In this case, the Function only uses the first argument that the interpreter provides, and completely ignores the iteration counter. The syntax here also puts the Collection outside the parentheses, which perhaps makes it more clear that <code class="code">tL</code> is not part of the Function.
+
+<pre class="programlisting">
+(
+ var tL = List.new;
+ var myFunc =
+ {
+ arg item;
+ item.postln;
+ };
+
+ tL = [27, 46, 102, 81, 34, 0, 39, 26, 203, 62];
+
+ tL.do( myFunc; );
+
+ nil;
+)
+</pre>
+ This example does several things differently, but maintains the same basic functionality as the previous example. In this case, the Function only uses the first argument that the interpreter provides, and completely ignores the iteration counter. The syntax here also puts the Collection outside the parentheses, which perhaps makes it more clear that <code class="code">tL</code> is not part of the Function.
</div><div class="para">
- [pre] ( 10.do( { "repeat".postln; }; ); nil; ) [/pre] This example simply prints the string "repeat" ten times. If the Function accepted one argument, it would receive the integers zero through nine. If it accepted two arguments, both of the arguments would be equal.
+
+<pre class="programlisting">
+(
+ 10.do( { "repeat".postln; }; );
+
+ nil;
+)
+</pre>
+ This example simply prints the string "repeat" ten times. If the Function accepted one argument, it would receive the integers zero through nine. If it accepted two arguments, both of the arguments would be equal.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Prev</strong>11.4.7.2. "Do This, This Many Times"</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html"><strong>Next</strong>11.4.7.4. "Do This While"</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html
@@ -1,5 +1,5 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.7.2. "Do This, This Many Times"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7. Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7. Repeated Execution" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html" title="11.4.7.3. Example "Do" Loops" /></head><body class="draft toc_embeded "><div id="tocdiv" class="t
oc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.2. "Do This, This Many Times"" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-
Basic_Programming-Repeating-Number_Do">11.4.7.2. "Do This, This Many Times"</h4></div></div></div><div class="para">
- Another way to write a "do" loop takes advantage of SuperCollider's flexibility, and is really the same as one of the methods above. It's basically equivalent to telling the interpreter to "run this Function this many times." The syntax looks like this, [pre]aNumber.do( aFunction );[/pre] This causes <code class="code">aFunction</code> to be executed <code class="code">aNumber</code> times. The interpreter still provdies two arguments to <code class="code">aFunction</code>, but they are the same: it is the integers from zero to one less than <code class="code">aNumber</code>. You might also think of it as the number of times that <code class="code">aFunction</code> has been executed ''prior'' to this particular execution.
+ Another way to write a "do" loop takes advantage of <span class="application"><strong>SuperCollider</strong></span>'s flexibility, and is really the same as one of the methods above. It's basically equivalent to telling the interpreter to "run this Function this many times." The syntax looks like this, <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">aNumber.do</b>(</code>aFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> This causes <code class="function">aFunction</code> to be execute <em class="replaceable"><code>aNumber</code></em> times. The interpreter still provdies two arguments to <code class="function">aFunction</code>, but they are the same: it is the integers from zero to one less than <em class="replaceable"><code>aNumber</code></em>. You might also think of it as the number of times that <code class="function">aFunction</code> has been executed prior to this particular execution.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html"><strong>Prev</strong>11.4.7. Repeated Execution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Next</strong>11.4.7.3. Example "Do" Loops</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Repeating-While.html
@@ -1,13 +1,39 @@
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.7.4. "Do This While"</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating.html" title="11.4.7. Repeated Execution" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html" title="11.4.7.3. Example "Do" Loops" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html" title="11.4.7.5. Other Loops" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id=
"tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7.4. "Do This While"" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-While"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-W
hile">11.4.7.4. "Do This While"</h4></div></div></div><div class="para">
- "While" loops execute continuously while their "test condition" is evaluated to be "true". Upon reaching the loop, the SuperCollider interpreter executes the test condition. If it is "fale", the interpreter does not execute the loop, and continues with the code after the loop. If it is "true", the interpreter executes the code in the loop once, then re-executes the test condition. If the test condition is "true", the loop is executed, the test condition re-executed, and so on. Until the test condition returns "false", the interpreter will never leave the loop.
+ "While" loops execute continuously while their "test condition" is evaluated to be "true". Upon reaching the loop, the <span class="application"><strong>SuperCollider</strong></span> interpreter executes the test condition. If it is "fale", the interpreter does not execute the loop, and continues with the code after the loop. If it is "true", the interpreter executes the code in the loop once, then re-executes the test condition. If the test condition is "true", the loop is executed, the test condition re-executed, and so on. Until the test condition returns "false", the interpreter will never leave the loop.
</div><div class="para">
- Here is the format of a "while" loop in SuperCollider: [pre] while( testFunc, bodyFunc ); [/pre] or [pre] testFunc.while( bodyFunc ); [/pre] The test condition, called <code class="code">testFunc</code>, is a Function which returns a boolean value - either "true" or "false". The loop's body, called <code class="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 <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators" title="11.4.8.1. Boolean Operators">Section 11.4.8.1, “Boolean Operatorsâ€</a> and <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions
.html" title="11.4.8.2. Boolean Expressions">Section 11.4.8.2, “Boolean Expressionsâ€</a>.
+ Here is the format of a "while" loop in <span class="application"><strong>SuperCollider</strong></span>: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">while</b>(</code>boolean testFunction<code>(</code>number<code>)</code>, bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> or like this: <div class="funcsynopsis"><p><code class="funcdef">testFunction.<b class="fsfunc">while</b>(</code>bodyFunction<code>(</code>number<code>)</code><code>)</code>;</p></div> The test condition, called <code class="code">testFunc</code>, is a Function which returns a boolean value - either "true" or "false". The loop's body, called <code class="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 <span class="applicatio
n"><strong>SuperCollider</strong></span>, see <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution.html#sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators" title="11.4.8.1. Boolean Operators">Section 11.4.8.1, “Boolean Operatorsâ€</a> and <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions.html" title="11.4.8.2. Boolean Expressions">Section 11.4.8.2, “Boolean Expressionsâ€</a>.
</div><div class="para">
- The following three code blocks are equivalent: [pre] ( 10.do( { "repeat".postln; }; ); ) [/pre] and [pre] ( var counter = 0; while( { counter < 10; }, { "repeat".postln; counter = counter + 1; } ); ) [/pre] and [pre] ( var counter = 0; { counter < 10; }.while( { "repeat".postln; counter = counter + 1; } ); ) [/pre] You can see how it's easier to write this particular activity as a "do" loop. It's often the case that a "do" loop better reflects what you want to do, but not always.
+ The following three code blocks are equivalent:
+<pre class="programlisting">
+(
+ 10.do( { "repeat".postln; }; );
+)
+</pre>
+ and
+<pre class="programlisting">
+(
+ var counter = 0;
+ while( { counter < 10; }, { "repeat".postln; counter = counter + 1; } );
+)
+</pre>
+ and
+<pre class="programlisting">
+(
+ var counter = 0;
+ { counter < 10; }.while( { "repeat".postln; counter = counter + 1; } );
+)
+</pre>
+ You can see how it's easier to write this particular activity as a "do" loop. It's often the case that a "do" loop better reflects what you want to do, but not always.
</div><div class="para">
- Contemplate a situation where you are waiting for the user to input some information, which you're going to use to calculate the rest of the composition. The following example isn't real code. It's intended to simplify a complex situation, so you can see where a "while" loop makes more sense than a "do" loop. [pre] play( some background music ); while( { is the user still inputting information? }, { keep playing music } ); stop( some background music ); [/pre] The background music is begun, and then the interpreter would enter the loop. For as long as the user is still inputting information, the interpreter will then "keep playing music." When the user is not still inputting information, the interpreter will move on to the next command, which stops the music. An equivalent "do" loop would be very difficult to write, if not impossible. This is because we won't know when the user has finished inputting their information until ''after'' they've finished, so we can't plan in
advance for how long to play background music.
+ Contemplate a situation where you are waiting for the user to input some information, which you're going to use to calculate the rest of the composition. The following example isn't real code. It's intended to simplify a complex situation, so you can see where a "while" loop makes more sense than a "do" loop.
+<pre class="programlisting">
+play( some background music );
+while( { is the user still inputting information? }, { keep playing music } );
+stop( some background music );
+</pre>
+ The background music is begun, and then the interpreter would enter the loop. For as long as the user is still inputting information, the interpreter will then "keep playing music." When the user is not still inputting information, the interpreter will move on to the next command, which stops the music. An equivalent "do" loop would be very difficult to write, if not impossible. This is because we won't know when the user has finished inputting their information until ''after'' they've finished, so we can't plan in advance for how long to play background music.
</div><div class="para">
Thus, the most appropriate use of a "while" loop is for cases where you cannot know in advance how many times something should be executed. For most other cases of repeated execution, a "do" loop is the most appropriate choice.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Do_Examples.html"><strong>Prev</strong>11.4.7.3. Example "Do" Loops</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-.html"><strong>Next</strong>11.4.7.5. Other Loops</a></li></ul></body></html>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.7. Repeated Execution</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html" title="11.4.6.4. Other Collections" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html" title="11.4.7.2. "Do This, This Many Times"" /></head><body class="draft toc_emb
eded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.7. Repeated Execution" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect
-Musicians_Guide-SC-Basic_Programming-Repeating">11.4.7. Repeated Execution</h3></div></div></div><div class="para">
- Repeating boring tasks is one of the main uses of computers, which don't mind doing the same thing over and over again. More importantly, writing code once and using it many times is much more intelligent than writing the same code many times. Repetition of the same code is often problematic, and repetition with subtle differences is even worse. Errors in this kind of code are difficult to find in the first place, and more difficult to solve effectively. Thankfully, as with most other things, SuperCollider offers a wide variety of ways to repeat code without re-writing it.
+ Repeating boring tasks is one of the main uses of computers, which don't mind doing the same thing over and over again. More importantly, writing code once and using it many times is much more intelligent than writing the same code many times. Repetition of the same code is often problematic, and repetition with subtle differences is even worse. Errors in this kind of code are difficult to find in the first place, and more difficult to solve effectively. Thankfully, as with most other things, <span class="application"><strong>SuperCollider</strong></span> offers a wide variety of ways to repeat code without re-writing it.
</div><div class="para">
- The code structure used to create repetition is normally called a '''loop'''. "Do" loops are SuperCollider's most versatile and useful repetition structure, and there are a few different ways to think about and write it. The "while" loop is a standard of most programming languages.
+ The code structure used to create repetition is normally called a '''loop'''. "Do" loops are <span class="application"><strong>SuperCollider</strong></span>'s most versatile and useful repetition structure, and there are a few different ways to think about and write it. The "while" loop is a standard of most programming languages.
</div><div class="section" title="11.4.7.1. "Do This to Everything in This Collection"" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Simple_Do">11.4.7.1. "Do This to Everything in This Collection"</h4></div></div></div><div class="para">
- One way to write a "do" loop is basically the same as telling the interpreter to "do this Function to every element in this Collection." The syntax looks like this, [pre]do( aCollection, aFunction );[/pre] or this, [pre]aCollection.do( aFunction );[/pre] This causes <code class="code">aFunction</code> to be executed once for each element in <code class="code">aCollection</code>, which can be any kind of Collection. Each time <code class="code">aFunction</code> is run, it is given two arguments, in this order: an element of <code class="code">aCollection</code>, and the elements index number. For Collection's that don't have index numbers, it returns what the element's index number would have been. The loop always begins at the start of the Collection, and progresses with each element in order to the end. The second argument, really, is the integers from zero to one less than the number of elements in the Collection, increasing by one each time the loop executes <code cla
ss="code">aFunction</code>.
+ One way to write a "do" loop is basically the same as telling the interpreter to "do this Function to every element in this Collection." The syntax looks like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">do</b>(</code><var class="pdparam">aCollection</var>, aFunction<code>(</code>number, number<code>)</code><code>)</code>;</p></div> ... or like this: <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">aCollection.do</b>(</code>aFunction<code>(</code>number, number<code>)</code><code>)</code>;</p></div> This causes <code class="function">aFunction</code> to be executed once for each element in <em class="replaceable"><code>aCollection</code></em>, which can be any kind of Collection. Each time <code class="function">aFunction</code> is run, it is given two arguments, in this order: an element of <em class="replaceable"><code>aCollection</code></em>, and the elements index number. For Collection's that don't have index numbers
, it returns what the element's index number would have been. The loop always begins at the start of the Collection, and progresses with each element in order to the end. The second argument, really, is the integers from zero to one less than the number of elements in the Collection, increasing by one each time the loop executes <code class="function">aFunction</code>.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Collections-Other_Collections.html"><strong>Prev</strong>11.4.6.4. Other Collections</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Repeating-Number_Do.html"><strong>Next</strong>11.4.7.2. "Do This, This Many Times"</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.13.2. Default Clocks</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13. Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13. Scheduling" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html" title="11.4.13.3. Finding the Current Time" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe
id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.2. Default Clocks" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Progra
mming-Scheduling-Default_Clocks">11.4.13.2. Default Clocks</h4></div></div></div><div class="para">
- The SuperCollider interpreter provides two default clocks, and one default pseudo-clock.
+ The <span class="application"><strong>SuperCollider</strong></span> interpreter provides two default clocks, and one default pseudo-clock.
</div><div class="para">
The <code class="code">SystemClock</code> always operates in seconds, and it can be used to schedule musical events, but usually this isn't necessary.
</div><div class="para">
- The <code class="code">TempoClock.default</code> runs at 60 beats-per-minute by default (equal to one beat per second). Since it's accessible from anywhere within a program, any tempo changes will have an effect on the scheduling of the entire program - so be careful! If you don't want something to be effected by tempo changes, you can create a new TempoClock just for that part of the program. If you will be using this clock frequently, you can assign it to a variable like this: [pre] var t = TempoClock.default; [/pre]
+ The <code class="code">TempoClock.default</code> runs at 60 beats-per-minute by default (equal to one beat per second). Since it's accessible from anywhere within a program, any tempo changes will have an effect on the scheduling of the entire program - so be careful! If you don't want something to be effected by tempo changes, you can create a new TempoClock just for that part of the program. If you will be using this clock frequently, you can assign it to a variable like this:
+<pre class="programlisting">var t = TempoClock.default;</pre>
+
</div><div class="para">
The <code class="code">thisThread.clock</code> is not really a clock in itself, but refers to the clock which is responsible for scheduling the part of the program where the command is written. It can be a little bit tricky working with this clock, since it may be either the SystemClock or a TempoClock.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html"><strong>Prev</strong>11.4.13. Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Next</strong>11.4.13.3. Finding the Current Time</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html
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@@ -1,7 +1,13 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.13.3. Finding the Current Time</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13. Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html" title="11.4.13.2. Default Clocks" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html" title="11.4.13.4. Relative Scheduling" /></head><body class="draft toc_embeded "><div id="tocdiv"
class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.3. Finding the Current Time" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time"><div class="titlepage"><div><div keep-together.within-column="always"><h4 cla
ss="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time">11.4.13.3. Finding the Current Time</h4></div></div></div><div class="para">
- Using the "beats" method on a clock will return that clock's current time. Try running each of the following: [pre] SystemClock.beats; TempoClock.default.beats; thisThread.clock.beats; [/pre]
+ Using the "beats" method on a clock will return that clock's current time. Try running each of the following:
+<pre class="programlisting">
+SystemClock.beats;
+TempoClock.default.beats;
+thisThread.clock.beats;
+</pre>
+
</div><div class="para">
This can be useful for scheduling events in an absolute way, or for a number of other things.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Default_Clocks.html"><strong>Prev</strong>11.4.13.2. Default Clocks</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Next</strong>11.4.13.4. Relative Scheduling</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html
@@ -3,7 +3,11 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.13.4. Relative Scheduling</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13. Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html" title="11.4.13.3. Finding the Current Time" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html" title="11.4.13.5. Repeated Scheduling" /></head><body class="draft toc_embeded "><
div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Finding_the_Current_Time.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.4. Relative Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling"><div class="titlepage"><div><div keep-together.within-column="
always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling">11.4.13.4. Relative Scheduling</h4></div></div></div><div class="para">
The standard way to schedule things is in a certain number of beats from now. If you're scheduling on a SystemClock, one beat is equal to one second. If you're scheduling on a TempoClock, one beat is equal to whatever the current setting is.
</div><div class="para">
- To schedule things on a clock, use the "sched" Function: [pre] nameOfClock.sched( beatsFromNow, FunctionToExecute ); [/pre] The interpreter will let you schedule just about anything, but there's no point in scheduling something other than a Function: scheduling a five won't have any effect - try it! [pre] SystemClock.sched( 5, 5 ); [/pre] It looks like nothing happens. The 5 does happen, but... well... it doesn't do anything. Scheduling a Function ''will'' do something: [pre] SystemClock.sched( 5, { 5.postln; } ); [/pre] When you run this, there are two things to notice:
+ To schedule things on a clock, use the "sched" Function: <div class="funcsynopsis"><p><code class="funcdef">nameOfClock<b class="fsfunc">sched</b>(</code><var class="pdparam">beatsFromNow</var>, <var class="pdparam">FunctionToExecute</var><code>)</code>;</p></div> The interpreter will let you schedule just about anything, but there's no point in scheduling something other than a Function: scheduling a five won't have any effect - try it!
+<pre class="programlisting">SystemClock.sched( 5, 5 );</pre>
+ It looks like nothing happens. The <code class="literal">5</code> does happen, but... well... it doesn't do anything. Scheduling a Function ''will'' do something:
+<pre class="programlisting">SystemClock.sched( 5, { 5.postln; } );</pre>
+ When you run this, there are two things to notice:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
The interpreter prints out "SystemClock" first. This is to let you know that it did the scheduling as requested.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html
@@ -3,7 +3,11 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.13.5. Repeated Scheduling</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13. Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html" title="11.4.13.4. Relative Scheduling" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html" title="11.4.13.6. Working with the TempoClock Class" /></head><body class="draft toc_embeded ">
<div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.5. Repeated Scheduling" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling"><div class="titlepage"><div><div keep-together.within-column="always"
><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling">11.4.13.5. Repeated Scheduling</h4></div></div></div><div class="para">
If you schedule a Function that returns a number, the interpreter will schedule the Function to re-run in that many beats.
</div><div class="para">
- This will print "5" every five seconds, until you press [Esc] to stop execution. [pre] SystemClock.sched( 5, { 5.postln; } ); [/pre]
+ This will print "5" every five seconds, until you press [Esc] to stop execution.
+<pre class="programlisting">SystemClock.sched( 5, { 5.postln; } );</pre>
+
</div><div class="para">
- To avoid this, you can end your Function with "nil", which has been done sometimes through this guide. [pre] SystemClock.sched( 5, { 5.postln; nil; } ); [/pre] This will print "5" in five seconds, and then stop.
+ To avoid this, you can end your Function with <code class="literal">nil</code>, which has been done sometimes through this guide.
+<pre class="programlisting">SystemClock.sched( 5, { 5.postln; nil; } );</pre>
+ This will print <code class="literal">5</code> in five seconds, and then stop.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Relative_Scheduling.html"><strong>Prev</strong>11.4.13.4. Relative Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html"><strong>Next</strong>11.4.13.6. Working with the TempoClock Class</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html
index e6b30f2..cd49c5f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class.html
@@ -3,17 +3,38 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.13.6. Working with the TempoClock Class</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling.html" title="11.4.13. Scheduling" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html" title="11.4.13.5. Repeated Scheduling" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html" title="11.4.14. How to Get Help" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.13.6. Working with the TempoClock Class" id="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="se
ct-Musicians_Guide-SC-Basic_Programming-Scheduling-TempoClock_Class">11.4.13.6. Working with the TempoClock Class</h4></div></div></div><div class="para">
Here is a brief explanation of some Functions available with the TempoClock Class. Throughout this section, the variable "t" is used to represent any particular TempoClock.
</div><div class="para">
- [pre] var t = TempoClock.new( tempo, beats ); [/pre] This creates a new TempoClock. The arguments are optional, and have the following meanings: * tempo: tempo of the clock, given in beats per second. To input a value in beats-per-minute, divide it by 60. Defaults to 60 beats per minute, or one per second. * beats: starts the clock at this time. Default is zero.
+
+<pre class="programlisting">var t = TempoClock.new( tempo, beats );</pre>
+ This creates a new TempoClock. The arguments are optional, and have the following meanings:
+ <div class="itemizedlist"><ul><li class="listitem"><div class="para">
+ tempo: tempo of the clock, given in beats per second. To input a value in beats-per-minute, divide it by 60. Defaults to 60 beats per minute, or one per second.
+ </div></li><li class="listitem"><div class="para">
+ beats: starts the clock at this time. Default is zero.
+ </div></li></ul></div>
+
</div><div class="para">
- [pre] t.stop; t = nil; [/pre] Equivalent to the "free" method for a Synth of Bus Object. This stops the clock, discards all scheduled events, and releases the resources used to run the clock. Setting the variable to "nil" afterwards is optional, but recommended, to avoid later programming mistakes.
+
+<pre class="programlisting">
+t.stop;
+t = nil;
+</pre>
+ Equivalent to the "free" method for a Synth of Bus Object. This stops the clock, discards all scheduled events, and releases the resources used to run the clock. Setting the variable to "nil" afterwards is optional, but recommended, to avoid later programming mistakes.
</div><div class="para">
- [pre] t.clear; [/pre] Discards all scheduled events, but keeps the clock running.
+
+<pre class="programlisting"><em class="replaceable"><code>t</code></em>.clear;</pre>
+ Discards all scheduled events, but keeps the clock running.
</div><div class="para">
- [pre] t.tempo; [/pre] Returns the current tempo in beats-per-second.
+
+<pre class="programlisting"><em class="replaceable"><code>t</code></em>.tempo;</pre>
+ Returns the current tempo in beats-per-second.
</div><div class="para">
- [pre] t.tempo_( newTempo ); [/pre] Allows you to change the clock's tempo. The new tempo should be in beats-per-second. To input a tempo in beats-per-minute, divide the value by 60.
+
+<pre class="programlisting"><em class="replaceable"><code>t</code></em>.tempo_( <em class="replaceable"><code>newTempo</code></em> );</pre>
+ Allows you to change the clock's tempo. The new tempo should be in beats-per-second. To input a tempo in beats-per-minute, divide the value by 60.
</div><div class="para">
- [pre] t.play( Function ); [/pre] Schedules the Function to begin execution on the next beat.
+
+<pre class="programlisting"><em class="replaceable"><code>t</code></em>.play( <em class="replaceable"><code>aFunction</code></em> );</pre>
+ Schedules the Function to begin execution on the next beat.
</div><div class="para">
There are many other Functions in the TempoClock Class, related to absolute scheduling, scheduling with bars, and conversion of beats to and from seconds.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Scheduling-Repeated_Scheduling.html"><strong>Prev</strong>11.4.13.5. Repeated Scheduling</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Getting_Help.html"><strong>Next</strong>11.4.14. How to Get Help</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html
@@ -3,7 +3,11 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.4.2. The "play" Function</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html" title="11.4.4. Sound-Making Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html" title="11.4.4. Sound-Making Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html" title="11.4.5. Multichannel Audio" /></head><body class="draft toc_embeded "><div id="tocd
iv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.4.2. The "play" Function" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class=
"title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function">11.4.4.2. The "play" Function</h4></div></div></div><div class="para">
The <code class="code">play</code> Function does exactly what it says: it plays its input. The input must be a Function with an audio-rate signal generator as the return value.
</div><div class="para">
- The following two examples produce the same output: [pre]{ SinOsc.ar( 440, 0, 0.2 ); }.play;[/pre] [pre]play( { SinOsc.ar( 440, 0, 0.2 ); } );[/pre] The first example is written from an object-oriented perspective. Functions know how to play their return value, when passed the <code class="code">play</code> message. This is true of all Functions whose return value is an audio-rate UGen. The second example is written from a functional perspective. The Function called <code class="code">play</code> will play its input, which must be a Function whose return value is an audio-rate UGen. Whether you should write <code class="code">play</code> in the functional or object-oriented way depends on which makes more sense to you.
+ The following two examples produce the same output:
+<pre class="programlisting">{ SinOsc.ar( 440, 0, 0.2 ); }.play;</pre>
+
+<pre class="programlisting">play( { SinOsc.ar( 440, 0, 0.2 ); } );</pre>
+ The first example is written from an object-oriented perspective. Functions know how to play their return value, when passed the <code class="code">play</code> message. This is true of all Functions whose return value is an audio-rate UGen. The second example is written from a functional perspective. The Function called <code class="code">play</code> will play its input, which must be a Function whose return value is an audio-rate UGen. Whether you should write <code class="code">play</code> in the functional or object-oriented way depends on which makes more sense to you.
</div><div class="para">
Try to re-write the above example so that the <code class="code">play</code> Function operates on a variable-defined Function.
</div><div class="para">
@@ -17,5 +21,14 @@
</div></li></ul></div>
</div><div class="para">
- You now know enough to spend hours with the sine oscillator UGen. Try combining audio- and control-rate UGens, and try to figure out what happens when each of the arguments is adjusted. Be careful that your audio interface's volume isn't set too high! Experiment with this one: [pre] ( var myFrequency = SinOsc.kr( freq:1, mul:200, add:400 ); var sound = { SinOsc.ar( myFrequency, 0, 0.2 ); }; play( sound ); ) [/pre]
+ You now know enough to spend hours with the sine oscillator UGen. Try combining audio- and control-rate UGens, and try to figure out what happens when each of the arguments is adjusted. Be careful that your audio interface's volume isn't set too high! Experiment with this one:
+<pre class="programlisting">
+(
+ var myFrequency = SinOsc.kr( freq:1, mul:200, add:400 );
+ var sound = { SinOsc.ar( myFrequency, 0, 0.2 ); };
+
+ play( sound );
+)
+</pre>
+
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html"><strong>Prev</strong>11.4.4. Sound-Making Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Multichannel_Audio.html"><strong>Next</strong>11.4.5. Multichannel Audio</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions.html
@@ -3,7 +3,9 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.4. Sound-Making Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html" title="11.4.3.4. Choosing a Paradigm" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html" title="11.4.4.2. The "play" Function" /></head>
<body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.4. Sound-Making Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions"><div class="titlepage"><di
v><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions">11.4.4. Sound-Making Functions</h3></div></div></div><div class="para">
It's finally time to start thinking about Functions that produce sound!
</div><div class="para">
- This example is discussed below in the following sections. Remember, when running SuperCollider code in GEdit, you can stop the sound by pressing 'Esc' on your keyboard. [pre]{ SinOsc.ar( 440, 0, 0.2 ); }.play;[/pre]
+ This example is discussed below in the following sections. Remember, when running <span class="application"><strong>SuperCollider</strong></span> code in <span class="application"><strong>GEdit</strong></span>, you can stop the sound by pressing <span class="keycap"><strong>Esc</strong></span>
+<pre class="programlisting">{ SinOsc.ar( 440, 0, 0.2 ); }.play;</pre>
+
</div><div class="section" title="11.4.4.1. UGens" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-UGens">11.4.4.1. UGens</h4></div></div></div><div class="para">
"UGen" stands for "unit generator." UGens are special Objects that generate either an audio or a control signal.
</div><div class="para">
@@ -11,7 +13,7 @@
</div><div class="para">
The example at the beginning of this chapter, <code class="code">SinOsc.ar( 440, 0, 0.2 );</code> produces an "instance" of the <code class="code">SinOsc</code> Class, which continuously outputs a signal, based on the parameters given in parentheses. This instance produces an "audio rate" signal, which means that it is of sufficient quality to eventually become sound.
</div><div class="para">
- A slightly modified version of that code will give us a "control rate" signal: <code class="code">SinOsc.kr( 440, 0, 0.2 );</code> There is only one small difference between the two examples - for us - but for SuperCollider, the difference is huge. A control rate signal will not be of sufficient quality to become sound; it is used to control other UGens that do become sound.
+ A slightly modified version of that code will give us a "control rate" signal: <code class="code">SinOsc.kr( 440, 0, 0.2 );</code> There is only one small difference between the two examples - for us - but for <span class="application"><strong>SuperCollider</strong></span>, the difference is huge. A control rate signal will not be of sufficient quality to become sound; it is used to control other UGens that do become sound.
</div><div class="para">
- Unlike other Classes, UGen Classes should not be instantiated with the <code class="code">new</code> message. They should always be instantiated as either audio-rate (by passing the <code class="code">ar</code> message), or control-rate (by passing the <code class="code">kr</code> message). Control-rate signals are calculated much less often than audio-rate signals, which allows the SuperCollider interpreter and server to save processing power where it wouldn't be noticed.
+ Unlike other Classes, UGen Classes should not be instantiated with the <code class="code">new</code> message. They should always be instantiated as either audio-rate (by passing the <code class="code">ar</code> message), or control-rate (by passing the <code class="code">kr</code> message). Control-rate signals are calculated much less often than audio-rate signals, which allows the <span class="application"><strong>SuperCollider</strong></span> interpreter and server to save processing power where it wouldn't be noticed.
</div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented-Choosing_a_Paradigm.html"><strong>Prev</strong>11.4.3.4. Choosing a Paradigm</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Sound_Making_Functions-The_play_Function.html"><strong>Next</strong>11.4.4.2. The "play" Function</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html
@@ -3,7 +3,35 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.7. Creating Change Anyway</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10. SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html" title="11.4.10.6. Shortcomings of a SynthDef" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html" title="11.4.10.8. SynthDef with Argumen
ts" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.7. Creating Change Anyway" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Cre
ating_Change_Anyway"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway">11.4.10.7. Creating Change Anyway</h4></div></div></div><div class="para">
The way to create change and pseudo-randomness anyway is to incorporate another UGen to do it for you. Remember: when you send synthesis information to the server, that information can't change unless you replace it. This doesn't mean that the output produced by the synth can't change!
</div><div class="para">
- The way to do this is with control-rate UGen's. The following example uses a control-rate SinOsc to set the frequency of an audio-rate SinOsc. [pre] ( var myRandFunc = { var frequency = SinOsc.kr( freq:0.5, add:660, mul:220 ); // oscillates between 440 and 880, hitting each extreme every 2 seconds Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.2 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); Synth.new( \myRandFunc ); ) [/pre] When you use a UGen as a control-rate UGen, you have to think about its arguments quite differently than when using it as an audio-rate UGen. This table shows how the same argument gives a different result for an audio-rate vs. control-rate UGen used for pitch: {| ! parameter !! audio-rate UGen !! control-rate UGen for pitch |- freq (frequency in Hertz) || controls pitch || controls the speed of oscillation |- add || ?? || re-sets the "zero" (middle) point of the sine wave by adding this to the output |- mul || controls volume level || sets
the deviation from the "zero" point |} For an audio-rate SinOsc UGen, you set the frequency and the volume level. For a control-rate UGen, you set the mid-point of oscillation with "add", the extremes of oscillation which will be <code class="code">add - mul</code> and <code class="code">add + mul</code>, and the speed of oscillation with "freq". The end result is very different numbers.
+ The way to do this is with control-rate UGen's. The following example uses a control-rate SinOsc to set the frequency of an audio-rate SinOsc.
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ var frequency = SinOsc.kr( freq:0.5, add:660, mul:220 ); // oscillates between 440 and 880, hitting each extreme every 2 seconds
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.2 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ Synth.new( \myRandFunc );
+)
+</pre>
+ When you use a UGen as a control-rate UGen, you have to think about its arguments quite differently than when using it as an audio-rate UGen. This table shows how the same argument gives a different result for an audio-rate vs. control-rate UGen used for pitch: {| ! parameter !! audio-rate UGen !! control-rate UGen for pitch |- freq (frequency in Hertz) || controls pitch || controls the speed of oscillation |- add || ?? || re-sets the "zero" (middle) point of the sine wave by adding this to the output |- mul || controls volume level || sets the deviation from the "zero" point |} For an audio-rate SinOsc UGen, you set the frequency and the volume level. For a control-rate UGen, you set the mid-point of oscillation with "add", the extremes of oscillation which will be <code class="code">add - mul</code> and <code class="code">add + mul</code>, and the speed of oscillation with "freq". The end result is very different numbers.
</div><div class="para">
- There is a handy UGen designed specifically for replacing pseudo-randomness in Functions. The following example restores the "ten different pitches" to the example from the last section. [pre] ( var myRandFunc = { var frequency = Rand( 440, 880 ); // produces an integer between 440 and 880 Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); 10.do( { Synth.new( \myRandFunc ); } ); ) [/pre] If you run this multiple times, you will again hear ten different pitches. Depending on audio hardware, previous musical experience, and other factors, some people may have difficulty hearing that the pitches are different. Try reducing the number of synths created in the loop.
+ There is a handy UGen designed specifically for replacing pseudo-randomness in Functions. The following example restores the "ten different pitches" to the example from the last section.
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ var frequency = Rand( 440, 880 ); // produces an integer between 440 and 880
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ 10.do( { Synth.new( \myRandFunc ); } );
+)
+</pre>
+ If you run this multiple times, you will again hear ten different pitches. Depending on audio hardware, previous musical experience, and other factors, some people may have difficulty hearing that the pitches are different. Try reducing the number of synths created in the loop.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Prev</strong>11.4.10.6. Shortcomings of a SynthDef</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Next</strong>11.4.10.8. SynthDef with Arguments</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html
index 910bc33..2039005 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html
@@ -3,13 +3,48 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.9. Things to Do with a SynthDef: Set and Free</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10. SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html" title="11.4.10.8. SynthDef with Arguments" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11. Busses" /></head><body class="draft toc_embed
ed "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.9. Things to Do with a SynthDef: Set and Free" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free"><div class="titlepage"><div><div keep-together.wi
thin-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free">11.4.10.9. Things to Do with a SynthDef: Set and Free</h4></div></div></div><div class="para">
Once you send a synth definition to the server, and make some synths, you've collected a few Synth Objects, and you wonder what to do with them next. Of course, you could listen to them, but you can also change the arguments that you used, and stop it.
</div><div class="para">
- To change the arguments used by a synth, send it the "set" message, with a list of arguments: [pre] variableHoldingSynth.set( [\argument1,value,\argument2,value,...] ); [/pre] This helps to save even more time and memory: rather than destroying and creating synths all the time, you can simply change pre-existing ones.
+ To change the arguments used by a synth, send it the "set" message, with a list of arguments:
+<pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.set( [<em class="replaceable"><code>\argument1</code></em>,<em class="replaceable"><code>value</code></em>,<em class="replaceable"><code>\argument2</code></em>,<em class="replaceable"><code>value</code></em>,...] );</pre>
+ This helps to save even more time and memory: rather than destroying and creating synths all the time, you can simply change pre-existing ones.
</div><div class="para">
- This modification of the ten-pseudo-random-tones example includes an extra line that lets you change the tones without destroying and re-creating the synths. [pre] // run this first h = List.new; // run this second ( var myRandFunc = { arg frequency = 440; Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); ) // run this third 10.do( { h.add( Synth.new( \myRandFunc, [\frequency,(440.rand + 440)] ) ); } ); // run this fourth, as many times as you please h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } ); [/pre] The reason that you have to run each of those segments separately is two-fold: we need to store the List of Synth's in a single-letter variable because, for this simple demonstration, this is the most efficient way; second, for the asynchronous behaviour of the server that was previously noted as causing an error.
+ This modification of the ten-pseudo-random-tones example includes an extra line that lets you change the tones without destroying and re-creating the synths.
+<pre class="programlisting">
+// run this first
+h = List.new;
+
+// run this second
+(
+ var myRandFunc =
+ {
+ arg frequency = 440;
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+)
+
+// run this third
+10.do( { h.add( Synth.new( \myRandFunc, [\frequency,(440.rand + 440)] ) ); } );
+
+// run this fourth, as many times as you please
+h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
+</pre>
+ The reason that you have to run each of those segments separately is two-fold: we need to store the List of Synth's in a single-letter variable because, for this simple demonstration, this is the most efficient way; second, for the asynchronous behaviour of the server that was previously noted as causing an error.
</div><div class="para">
The only aspect of that example that's a little tricky to understand is the "do" loop. Remember that when you run a "do" loop on a List, the interpreter automatically loops over each of the elements in the List, running the Function that you provide. Each time the Function is run, it receives the current List item, and its index number in the List, in that order. So the Function in this loop simply uses "set" to change the "frequency" argument.
</div><div class="para">
- Take special note that the arguments in this case are not identical to those given with the "new" message. Compare the two forms below: [pre] SynthDef.new( \SynthName, [\parameter1,value,\parameter2,value] ); [/pre] and [pre] existingSynth.set( \parameter1, value, \parmeter2, value ); [/pre]
+ Take special note that the arguments in this case are not identical to those given with the "new" message. Compare the two forms below:
+<pre class="programlisting">SynthDef.new( <em class="replaceable"><code>\SynthName</code></em>, [<em class="replaceable"><code>\parameter1</code></em>,<em class="replaceable"><code>value</code></em>,<em class="replaceable"><code>\parameter2</code></em>,<em class="replaceable"><code>value</code></em>] );</pre>
+ and
+<pre class="programlisting"><em class="replaceable"><code>existingSynth</code></em>.set( <em class="replaceable"><code>\parameter1</code></em>, <em class="replaceable"><code>value</code></em>, <em class="replaceable"><code>\parmeter2</code></em>, <em class="replaceable"><code>value</code></em> );</pre>
+
</div><div class="para">
- To get rid of one synth without stopping all sound, send its corresponding Synth the "free" message: [pre] variableHoldingSynth.free; [/pre] This stops the synth and frees the associated memory - on the server. Your Synth Object still exists in the interpreter, but you can't use it any more. A Synth Object represents a synth on the server; since you got rid of the synth on the server, the Synth Object represents something that doesn't exist. If you attempt to send the "free" message again, you'll get an error. For this reason, it's a good idea to get rid of the Synth Object at the same time: [pre] variableHoldingSynth.free; variableHoldingSynth = nil; [/pre] If you accidentally send "free" to an already-freed Synth, the interpreter will cause an error, and program execution will stop. If you accidentally send "free" to a variable set to "nil", nothing will happen. Proactively avoiding mistakes like this is good programming practice.
+ To get rid of one synth without stopping all sound, send its corresponding Synth the "free" message:
+<pre class="programlisting"><em class="replaceable"><code>variableHoldingSynth</code></em>.free;</pre>
+ This stops the synth and frees the associated memory - on the server. Your Synth Object still exists in the interpreter, but you can't use it any more. A Synth Object represents a synth on the server; since you got rid of the synth on the server, the Synth Object represents something that doesn't exist. If you attempt to send the "free" message again, you'll get an error. For this reason, it's a good idea to get rid of the Synth Object at the same time:
+<pre class="programlisting">
+<replaceable>variableHoldingSynth</replaceable>.free;
+<replaceable>variableHoldingSynth</replaceable> = nil;
+</pre>
+ If you accidentally send "free" to an already-freed Synth, the interpreter will cause an error, and program execution will stop. If you accidentally send "free" to a variable set to "nil", nothing will happen. Proactively avoiding mistakes like this is good programming practice.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html"><strong>Prev</strong>11.4.10.8. SynthDef with Arguments</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html"><strong>Next</strong>11.4.11. Busses</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html
@@ -1,9 +1,35 @@
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.6. Shortcomings of a SynthDef</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10. SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html" title="11.4.10.5. SynthDef Becomes Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html" title="11.4.10.7. Creating Change Anyway" />
</head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.6. Shortcomings of a SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomin
gs_of_a_SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef">11.4.10.6. Shortcomings of a SynthDef</h4></div></div></div><div class="para">
- Consider the following program: [pre] ( var myRandFunc = { var frequency = 440.rand + 440; // produces an integer between 440 and 880 SinOsc.ar( freq:frequency, mul:0.025 ); }; 10.do( { myRandFunc.play; } ); ) [/pre] Execute the program a few times. The result will be different each time: ten different SinOsc's with ten different frequencies.
+ Consider the following program:
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ var frequency = 440.rand + 440; // produces an integer between 440 and 880
+ SinOsc.ar( freq:frequency, mul:0.025 );
+ };
+
+ 10.do( { myRandFunc.play; } );
+)
+</pre>
+ Execute the program a few times. The result will be different each time: ten different SinOsc's with ten different frequencies.
</div><div class="para">
- What if we convert the program to use a SynthDef and multiple Synth's instead? This program will probably cause an error the first time - this is exaplained below. [pre] ( var myRandFunc = { var frequency = 440.rand + 440; // produces an integer between 440 and 880 Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); 10.do( { Synth.new( \myRandFunc ); } ); ) [/pre] Execute the program a few times. The result is still different each time, but it's the ''same'' ten SinOsc's, all with the same frequency. This is the nature of a SynthDef: once it's sent to the server, you can create a synth from the same instructions without re-sending them.
+ What if we convert the program to use a SynthDef and multiple Synth's instead? This program will probably cause an error the first time - this is exaplained below.
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ var frequency = 440.rand + 440; // produces an integer between 440 and 880
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ 10.do( { Synth.new( \myRandFunc ); } );
+)
+</pre>
+ Execute the program a few times. The result is still different each time, but it's the ''same'' ten SinOsc's, all with the same frequency. This is the nature of a SynthDef: once it's sent to the server, you can create a synth from the same instructions without re-sending them.
</div><div class="para">
This program causes an error the first time you run it. Inspect the error messages, and see if you can determine why. It's because the server is processing commands ''asynchronously'': things don't happen right when the interpreter asks, but very shortly thereafter. The result is that the server is asked to make a new synth before it deals with the synth definition. There are ways to get around this, but they're too complex for this section - for now (to simplify this text's examples), just accept that the error may happen the first time you run a Synth.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Prev</strong>11.4.10.5. SynthDef Becomes Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Next</strong>11.4.10.7. Creating Change Anyway</a></li></ul></body></html>
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.4. Symbols</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10. SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html" title="11.4.10.3. Load" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html" title="11.4.10.4.2. Writing Symbols" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc
"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.4. Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide
-SC-Basic_Programming-SynthDef_and_Synth-Symbols">11.4.10.4. Symbols</h4></div></div></div><div class="para">
- As stated in the section about variables, a symbol is simply something which represents something else. When used in the context of a SynthDef, a symbol is a string of characters that refers to a SynthDef that we've already sent to the server. What wasn't mentioned in the section about variables is that, in addition to the symbols that can be used as variable names, the SuperCollider language provides a distinct data-type (like numbers or strings) for symbols. Many programming languages don't provide a "symbol" data-type, so many programmers do not use them extensively, but they are very handy for situations like this. As local variable names are symbols representing data stored by the interpreter, here we are using the symbol data-type to refer to data stored on the server.
+ As stated in the section about variables, a symbol is simply something which represents something else. When used in the context of a SynthDef, a symbol is a string of characters that refers to a SynthDef that we've already sent to the server. What wasn't mentioned in the section about variables is that, in addition to the symbols that can be used as variable names, the <span class="application"><strong>SuperCollider</strong></span> language provides a distinct data-type (like numbers or strings) for symbols. Many programming languages don't provide a "symbol" data-type, so many programmers do not use them extensively, but they are very handy for situations like this. As local variable names are symbols representing data stored by the interpreter, here we are using the symbol data-type to refer to data stored on the server.
</div><div class="para">
Symbols are a better way to name SynthDef's than strings. Not only do symbols take up less memory, they aren't actually the interpreter doesn't actually think of them as Objects, and neither should you. Symbols are universally unique; only one instance of a symbol with the same characters can exist. On the other hand, an infinite number of strings with the same characters can exist. When we use a symbol, we are defining it universally. When we use a string, the server pretends that all strings with the same characters are the same philosophical object, even though they aren't. This isn't a technical problem, but it can be difficult to think about, and is cognitively dissonant.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.2. SynthDef</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10. SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10. SynthDef and Synth" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html" title="11.4.10.3. Load" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="to
cframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.2. SynthDef" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef
_and_Synth-SynthDef">11.4.10.2. SynthDef</h4></div></div></div><div class="para">
- A SynthDef is what we use to tell the server how to create sound. In order to truly understand what SynthDef accomplishes, we need to recall the disconnect between the interpreter and the server. In reality, the interpreter has no idea how to make sound or work with audio hardware. The server, likewise, has no understanding at all of the SuperCollider language. The interpreter takes the code that we write, and does one of a number of things, depending on the nature of the code:
+ A SynthDef is what we use to tell the server how to create sound. In order to truly understand what SynthDef accomplishes, we need to recall the disconnect between the interpreter and the server. In reality, the interpreter has no idea how to make sound or work with audio hardware. The server, likewise, has no understanding at all of the <span class="application"><strong>SuperCollider</strong></span> language. The interpreter takes the code that we write, and does one of a number of things, depending on the nature of the code:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
executes it completely,
</div></li><li class="listitem"><div class="para">
@@ -17,7 +17,44 @@
</div><div class="para">
A SynthDef is part of this last process; SynthDef Objects represent the synthesis information that is sent to the server before (or at the same time as) telling the server to play the sound.
</div><div class="para">
- There are two steps to creating a useful SynthDef: making an interpreter Object, and sending the actual synthesis information to the server. There are two ways to write this, as follows: [pre] someVariable = SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen ); someVariable.send( nameOfServer ); [/pre] and [pre] SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen ).send( nameOfServer ); [/pre] The <code class="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 class="code">nameOfSynthDef</code> should be a symbol (as described in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.4.10.4. Symbols">Section 11.4.10.4, “Symbolsâ€</a>), but can also be a string. The <code class="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.
+ There are two steps to creating a useful SynthDef: making an interpreter Object, and sending the actual synthesis information to the server. There are two ways to write this, as follows:
+<pre class="programlisting">
+someVariable = SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen );
+someVariable.send( nameOfServer );
+</pre>
+ and
+<pre class="programlisting">SynthDef.new( nameOfSynthDef, FunctionContainingOutUGen ).send( nameOfServer );</pre>
+ The <code class="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 class="code">nameOfSynthDef</code> should be a symbol (as described in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.4.10.4. Symbols">Section 11.4.10.4, “Symbolsâ€</a>), but can also be a string. The <code class="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.
</div><div class="para">
- Here is a demonstration of both methods: [pre] ( var playMe = { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); }; var playMeSynthDef = SynthDef.new( \playMe, playMe ); playMeSynthDef.send( s ); nil; ) [/pre] and [pre] ( var playMe = { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); }; SynthDef.new( \playMe, playMe ).send( s ); nil; ) [/pre] The only advantage to assigning something to a variable is the ability to refer to it later. If you use the first method, then you can send the SynthDef to more than one server. Since it's rare that you will want to use more than one server, it's usually better to use the second style. In fact, if you won't be using the "playMe" Function again, you don't need to assign it to a variable! [pre] SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s ); [/pre] This is all that's really needed to create and send a synthesis definition to the server. It looks long and frightening, but now at least you understand what a
ll of the parts do.
+ Here is a demonstration of both methods:
+<pre class="programlisting">
+(
+ var playMe =
+ {
+ Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) );
+ };
+
+ var playMeSynthDef = SynthDef.new( \playMe, playMe );
+
+ playMeSynthDef.send( s );
+
+ nil;
+)
+</pre>
+ and
+<pre class="programlisting">
+(
+ var playMe =
+ {
+ Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) );
+ };
+
+ SynthDef.new( \playMe, playMe ).send( s );
+
+ nil;
+)
+</pre>
+ The only advantage to assigning something to a variable is the ability to refer to it later. If you use the first method, then you can send the SynthDef to more than one server. Since it's rare that you will want to use more than one server, it's usually better to use the second style. In fact, if you won't be using the "playMe" Function again, you don't need to assign it to a variable!
+<pre class="programlisting">SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s );</pre>
+ This is all that's really needed to create and send a synthesis definition to the server. It looks long and frightening, but now at least you understand what all of the parts do.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html"><strong>Prev</strong>11.4.10. SynthDef and Synth</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Load.html"><strong>Next</strong>11.4.10.3. Load</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html
@@ -3,11 +3,20 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.5. SynthDef Becomes Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10. SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html" title="11.4.10.4.2. Writing Symbols" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html" title="11.4.10.6. Shortcomings of a SynthDef" /></head><
body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.5. SynthDef Becomes Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth"><
div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth">11.4.10.5. SynthDef Becomes Synth</h4></div></div></div><div class="para">
After you send a SynthDef to the server, you can put it into action. When the interpreter tells the server to play a synthesis definition (which the interpreter holds in a SynthDef Object), the server creates a synth from the definition, and starts generating sound. The interpreter gives us a Synth Object to represent each synth on the server, so that we can control the synth.
</div><div class="para">
- This is the syntax used to create a new synth, after its definition has been sent to the server. [pre] Synth.new( nameOfSynthDef ); [/pre] The name will be a symbol or a string - whatever you supplied when you ran the <code class="code">SynthDef.new()</code> Function.
+ This is the syntax used to create a new synth, after its definition has been sent to the server. <div class="funcsynopsis"><p><code class="funcdef"><b class="fsfunc">Synth.new</b>(</code><var class="pdparam">nameOfSynthDef</var><code>)</code>;</p></div> The name will be a symbol or a string - whatever you supplied when you ran the <code class="code">SynthDef.new()</code> Function.
</div><div class="para">
- Because we're creating a new Synth Object, we should assign it to a variable, for later reference. [pre] SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s ); var mySynth = Synth.new( \playMe ); [/pre]
+ Because we're creating a new Synth Object, we should assign it to a variable, for later reference.
+<pre class="programlisting">
+SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s );
+var mySynth = Synth.new( \playMe );
+</pre>
+
</div><div class="para">
- Recall that the interpreter automatically uses the Synth and SynthDef Classes when we send the "play" message to a Function. We can actually capture and use the Synth Object created from "play-ing" a Function, too. This example is almost the same as the previous one. [pre] var mySynth = { SinOsc.ar( freq:443, mul:0.2 ); }.play; [/pre] The difference is subtle: after the second example, we have no control over what name the interpreter gives to the SynthDef that it sends to the server, so we can't re-use the SynthDef. On the other hand, because we assign the name <code class="code">\sillyTutorialSD</code> to the SynthDef in the first example, we know what it's called, and we can re-use it. Theoretically, we can make an infinite number of synths from this single definition. Realistically, it's limited by the amount of memory the server can use; for most modern computers, this number is so high that we don't ever need to worry about it.
+ Recall that the interpreter automatically uses the Synth and SynthDef Classes when we send the "play" message to a Function. We can actually capture and use the Synth Object created from "play-ing" a Function, too. This example is almost the same as the previous one.
+<pre class="programlisting">var mySynth = { SinOsc.ar( freq:443, mul:0.2 ); }.play;</pre>
+ The difference is subtle: after the second example, we have no control over what name the interpreter gives to the SynthDef that it sends to the server, so we can't re-use the SynthDef. On the other hand, because we assign the name <code class="code">\sillyTutorialSD</code> to the SynthDef in the first example, we know what it's called, and we can re-use it. Theoretically, we can make an infinite number of synths from this single definition. Realistically, it's limited by the amount of memory the server can use; for most modern computers, this number is so high that we don't ever need to worry about it.
</div><div class="para">
- As usual, the interpreter provides us with an optional short-cut: [pre] var mySynth = SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play; [/pre] This automatically sends the synthesis information to the server, creates a synth, and plays it. What minor functionality is lost when we use this shortcut?
+ As usual, the interpreter provides us with an optional short-cut:
+<pre class="programlisting">var mySynth = SynthDef.new( \playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play;</pre>
+ This automatically sends the synthesis information to the server, creates a synth, and plays it. What minor functionality is lost when we use this shortcut?
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html"><strong>Prev</strong>11.4.10.4.2. Writing Symbols</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Shortcomings_of_a_SynthDef.html"><strong>Next</strong>11.4.10.6. Shortcomings of a SynthDef</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments.html
@@ -3,5 +3,43 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.8. SynthDef with Arguments</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html" title="11.4.10. SynthDef and Synth" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html" title="11.4.10.7. Creating Change Anyway" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html" title="11.4.10.9. Things to Do with a SynthDef: Set and F
ree" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.8. SynthDef with Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Ar
guments"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_with_Arguments">11.4.10.8. SynthDef with Arguments</h4></div></div></div><div class="para">
There are some siutations where you simply cannot pre-determine all of the material that you're going to use when creating a synth. It might be easier to resort to using a Function rather than a SynthDef, but there is yet another solution - creating an argument in your SynthDef Function.
</div><div class="para">
- With only a subtle change to our Function, we can add the possibility of passing arguments on synth creation: [pre] var myRandFunc = { arg frequency = Rand( 440, 880 ); // default value between 440 and 880 Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; [/pre] I've decided to use the Rand UGen anyway, so that supplying a frequency is optional. This adds functionality while making the added complexity optional: [pre] ( var myRandFunc = { arg frequency = 440; Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, myRandFunc ).send( s ); 10.do( { Synth.new( \myRandFunc ); } ); ) [/pre] If you use the SynthDef in the old way, as in the example, you'll get the expected result: ten Synth's, all with the same frequency. But, if you add a "rand" Function call into the loop, you can get ten different frequencies! [pre] ( var myRandFunc = { arg frequency = 440; Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) ); }; SynthDef.new( \myRandFunc, my
RandFunc ).send( s ); 10.do( { Synth.new( \myRandFunc, [\frequency,(440.rand + 440)] ); } ); ) [/pre] Notice how we supply arguments: an Array with elements alternating between a string-quoted parameter name, and the value of the argument itself. If we "parameterized" all three main fields of the SinOsc, we could supply them like this: [pre] Synth.new( \mySinOsc, [\freq,440,\add,0,\mul,0.2] ); [/pre]
+ With only a subtle change to our Function, we can add the possibility of passing arguments on synth creation:
+<pre class="programlisting">
+var myRandFunc =
+{
+ arg frequency = Rand( 440, 880 ); // default value between 440 and 880
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+};
+</pre>
+ I've decided to use the Rand UGen anyway, so that supplying a frequency is optional. This adds functionality while making the added complexity optional:
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ arg frequency = 440;
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ 10.do( { Synth.new( \myRandFunc ); } );
+)
+</pre>
+ If you use the SynthDef in the old way, as in the example, you'll get the expected result: ten Synth's, all with the same frequency. But, if you add a "rand" Function call into the loop, you can get ten different frequencies!
+<pre class="programlisting">
+(
+ var myRandFunc =
+ {
+ arg frequency = 440;
+ Out.ar( 0, SinOsc.ar( freq:frequency, mul:0.025 ) );
+ };
+
+ SynthDef.new( \myRandFunc, myRandFunc ).send( s );
+
+ 10.do( { Synth.new( \myRandFunc, [\frequency,(440.rand + 440)] ); } );
+)
+</pre>
+ Notice how we supply arguments: an Array with elements alternating between a string-quoted parameter name, and the value of the argument itself. If we "parameterized" all three main fields of the SinOsc, we could supply them like this:
+<pre class="programlisting">Synth.new( \mySinOsc, [\freq,440,\add,0,\mul,0.2] );</pre>
+
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Creating_Change_Anyway.html"><strong>Prev</strong>11.4.10.7. Creating Change Anyway</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Set_and_Free.html"><strong>Next</strong>11.4.10.9. Things to Do with a SynthDef: Set and ...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols.html
@@ -3,9 +3,28 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10.4.2. Writing Symbols</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.4.10.4. Symbols" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html" title="11.4.10.4. Symbols" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html" title="11.4.10.5. SynthDef Becomes Synth" /></head><body class="draft toc_embeded ">
<div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10.4.2. Writing Symbols" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols"><div class="titlepage"><div><div keep-together.within-col
umn="always"><h5 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Writing_Symbols">11.4.10.4.2. Writing Symbols</h5></div></div></div><div class="para">
There are two ways to write out a symbol: between single-quotation marks, and after a back-slash. Symbols given between single-quotation marks can contain any characters but a single-quotation mark. Symbols given after a back-slash can contain any characters but a space. Neither type of symbol name can cross onto a new line.
</div><div class="para">
- The following example contains some valid symbols, and some invalid symbols. [pre] \stopSign \\ this is a symbol \stop sign \\ this is a symbol called 'stop' followed by the unrelated word 'sign' 'stopSign' \\ this is a symbol 'stop sign' \\ this is a symbol 'stop sign' \\ these lines are not a symbol, and will cause an error [/pre]
+ The following example contains some valid symbols, and some invalid symbols.
+<pre class="programlisting">
+\stopSign \\ this is a symbol
+\stop sign \\ this is a symbol called 'stop' followed by the unrelated word 'sign'
+'stopSign' \\ this is a symbol
+'stop sign' \\ this is a symbol
+'stop
+sign' \\ these lines are not a symbol, and will cause an error
+</pre>
+
</div><div class="para">
- The following example illustrates the differences between strings and symbols. [pre] var a = "stop sign" \\ a string var b = "stop sign" \\ a string with the same letters as the first string a == b; \\ returns "true" because the strings are equivalent a === b; \\ returns "false" because the strings are separate copies with the same characters
- </div><div class="para">
- var c = 'stop sign' \\ a symbol var d = 'stop sign' \\ the same symbol c == d; \\ returns "true" because the symbols are equivalent c === d; \\ returns "true" because the symbols are identical [/pre]
+ The following example illustrates the differences between strings and symbols.
+<pre class="programlisting">
+var a = "stop sign" \\ a string
+var b = "stop sign" \\ a string with the same letters as the first string
+a == b; \\ returns "true" because the strings are equivalent
+a === b; \\ returns "false" because the strings are separate copies with the same characters
+
+var c = 'stop sign' \\ a symbol
+var d = 'stop sign' \\ the same symbol
+c == d; \\ returns "true" because the symbols are equivalent
+c === d; \\ returns "true" because the symbols are identical
+</pre>
+
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols.html"><strong>Prev</strong>11.4.10.4. Symbols</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef_Becomes_Synth.html"><strong>Next</strong>11.4.10.5. SynthDef Becomes Synth</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth.html
@@ -1,11 +1,27 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.10. SynthDef and Synth</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Basic_Programming.html" title="11.4. Basic Programming in SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html" title="11.4.9.3. Addition" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html" title="11.4.10.2. SynthDef" /></head><body class="draft toc_embeded "><div id="tocdiv" class=
"toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Combining_and_Mix-Addition.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-SynthDef.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.10. SynthDef and Synth" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guid
e-SC-Basic_Programming-SynthDef_and_Synth">11.4.10. SynthDef and Synth</h3></div></div></div><div class="para">
- The preceding sections of this "Basic Programming" guide have only created sound with Function's. The truth is that Function's are very useful for creating sound, but they represent a simplification of the actual commands and Functions that must be run by the interpreter in order to create sound. [pre] // When you write this... ( { SinOsc.ar( freq:440, mul:0.2 ); }.play; ) // The interpreter actually does this... ( SynthDef.new( "temp__963", { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play; ) [/pre] Yikes! Don't despair - it's easy to understand - it just looks scary!
+ The preceding sections of this "Basic Programming" guide have only created sound with Function's. The truth is that Function's are very useful for creating sound, but they represent a simplification of the actual commands and Functions that must be run by the interpreter in order to create sound.
+<pre class="programlisting">
+// When you write this...
+(
+ { SinOsc.ar( freq:440, mul:0.2 ); }.play;
+)
+
+// The interpreter actually does this...
+(
+ SynthDef.new( "temp__963", { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play;
+)
+</pre>
+ Yikes! Don't despair - it's easy to understand - it just looks scary!
</div><div class="section" title="11.4.10.1. "Out" UGen" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen">11.4.10.1. "Out" UGen</h4></div></div></div><div class="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 - see <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11. Busses">Section 11.4.11, “Bussesâ€</a>).
</div><div class="para">
- The following examples have the same effect: [pre] { SinOsc.ar( freq:500, mul:0.2 ); }.play; [/pre] and [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 <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11. Busses">Section 11.4.11, “Bussesâ€</a>, but here is what you need to know for now, working with stereo (two-channel) audio:
+ The following examples have the same effect:
+<pre class="programlisting">{ SinOsc.ar( freq:500, mul:0.2 ); }.play;</pre>
+ and
+<pre class="programlisting">{ 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 <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Busses.html" title="11.4.11. Busses">Section 11.4.11, “Bussesâ€</a>, but here is what you need to know for now, working with stereo (two-channel) audio:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
If the second argument is a two-element Array, use bus number 0.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html
@@ -1,15 +1,63 @@
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<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.2.6. Variable Scope</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2. Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html" title="11.4.2.5. Function Return Values" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html" title="11.4.3. Object-Oriented SuperCollider" /></head><body class="dr
aft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Object_Oriented.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.6. Variable Scope" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-"><div class="titlepage"><div><div keep-together.within-colum
n="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-">11.4.2.6. Variable Scope</h4></div></div></div><div class="para">
- A variable is only valid within its "scope." A variable's scope is determined by where it is declared. It will always last between either ( and ) or { and }, and applies to all statements within that block of code. Variable names can be re-declared in some contexts, which can be confusing.
+ A variable is only valid within its "scope." A variable's scope is determined by where it is declared. It will always last between either <code class="literal">(</code> and <code class="literal">)</code> or <code class="literal">{</code> and <code class="literal">}</code>, and applies to all statements within that block of code. Variable names can be re-declared in some contexts, which can be confusing.
</div><div class="para">
- Consider the scope of the variables in this example: [pre] ( var zero = 0; var function = { var zero = 8; var sixteen = 16; zero.postln; // always prints 8 }; function.value; zero.postln; // always prints 0 sixteen.postln; // always causes an error ) [/pre] Because <code class="code">function</code> declares its own copy of <code class="code">zero</code>, it is modified independently of the variable <code class="code">zero</code> declared before the Function. Every time <code class="code">function</code> is executed, it re-declares its own <code class="code">zero</code>, and the interpreter keeps it separate from any other variables with the same name. When <code class="code">function</code> has finished executing, the interpreter destroys its variables. Variables declared inside any Function are only ever accessible from within that Function. This is why, when we try to execute <code class="code">sixteen.postln;</code>, the interpreter encounters an error: <code class="
code">sixteen</code> exists only within <code class="code">function</code>, and is not accessible outside the Function. By the way, in order to excute this example, you will need to remove the error-causing reference to <code class="code">sixteen</code>.
+ Consider the scope of the variables in this example:
+<pre class="programlisting">
+(
+ var zero = 0;
+ var function =
+ {
+ var zero = 8;
+ var sixteen = 16;
+ zero.postln; // always prints 8
+ };
+
+ function.value;
+ zero.postln; // always prints 0
+ sixteen.postln; // always causes an error
+)
+</pre>
+ Because <code class="code">function</code> declares its own copy of <code class="code">zero</code>, it is modified independently of the variable <code class="code">zero</code> declared before the Function. Every time <code class="code">function</code> is executed, it re-declares its own <code class="code">zero</code>, and the interpreter keeps it separate from any other variables with the same name. When <code class="code">function</code> has finished executing, the interpreter destroys its variables. Variables declared inside any Function are only ever accessible from within that Function. This is why, when we try to execute <code class="code">sixteen.postln;</code>, the interpreter encounters an error: <code class="code">sixteen</code> exists only within <code class="code">function</code>, and is not accessible outside the Function. By the way, in order to excute this example, you will need to remove the error-causing reference to <code class="code">sixteen</code>.
</div><div class="para">
- Now consider the scope of the variables in this example: [pre] ( var zero = 0; var function = { var sixteen = 16; zero = 8; zero.postln; // always prints 8 sixteen.postln; }; function.value; zero.postln; // always prints 8 ) [/pre] Why does the last line always print <code class="code">8</code>? It's because <code class="code">zero</code> was set to 8 within <code class="code">function</code>. More importantly, <code class="code">function</code> did not declare its own copy of <code class="code">zero</code>, so it simply accesses the one declared in the next "highest" block of code, which exists between ( and ) in this example.
+ Now consider the scope of the variables in this example:
+<pre class="programlisting">
+(
+ var zero = 0;
+ var function =
+ {
+ var sixteen = 16;
+ zero = 8;
+ zero.postln; // always prints 8
+ sixteen.postln;
+ };
+
+ function.value;
+ zero.postln; // always prints 8
+)
+</pre>
+ Why does the last line always print <code class="code">8</code>? It's because <code class="code">zero</code> was set to 8 within <code class="code">function</code>. More importantly, <code class="code">function</code> did not declare its own copy of <code class="code">zero</code>, so it simply accesses the one declared in the next "highest" block of code, which exists between ( and ) in this example.
</div><div class="para">
This is why it's important to pay attention to a variable's scope, and to make sure that you declare your variables in the right place. Unexpected and difficult-to-find programming mistakes can occur when you forget to declare a variable, but it is declared elsewhere in your program: you will be allowed to use the variable, but it will be modified unexpectedly. On the other hand, it can be greatly advantageous to be able to access variables declared "outside the local scope" (meaning variables that aren't declared in the same code block in which they're used), but careful thought and planning is required.
</div><div class="para">
- Astute readers will notice that it is possible to re-declare the single-letter variable names, allowing you to control their scope. Consider the following program: [pre] ( var a = 0; b = { var c = 16; a = 8; a.postln; c.postln; }; b.value; a.postln; ) [/pre] This example requires careful examination. What is the scope of <code class="code">a</code>, <code class="code">b</code>, and <code class="code">c</code>? The answers may be surprising.
+ Astute readers will notice that it is possible to re-declare the single-letter variable names, allowing you to control their scope. Consider the following program:
+<pre class="programlisting">
+(
+ var a = 0;
+ b =
+ {
+ var c = 16;
+ a = 8;
+ a.postln;
+ c.postln;
+ };
+
+ b.value;
+ a.postln;
+)
+</pre>
+ This example requires careful examination. What is the scope of <code class="code">a</code>, <code class="code">b</code>, and <code class="code">c</code>? The answers may be surprising.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
<code class="code">a</code> is declared just after the ( character, so the interpreter destroys it upon reaching the ) character.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html
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<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.2.4. Function Arguments</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2. Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html" title="11.4.2.3. Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html" title="11.4.2.5. Function Return Values" /></head><body class
="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.4. Function Arguments" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments"><div class="tit
lepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments">11.4.2.4. Function Arguments</h4></div></div></div><div class="para">
- The most useful aspect of Functions is that they can produce varying results, depending on their input. For whatever reason, the input accepted by a Function is called an "argument." SuperCollider's Functions can accept any number of arguments - zero, one, or many. Argument values (called "parameters") are provided to a Function by adding them in parentheses after the name of the Function, separated with commas, like this: <code class="code">exampleFunction( 5, 7, 9 );</code> Argument variables are declared as the first statement in a Function, like this: <code class="code">arg oneNumber, twoNumber;</code>
+ The most useful aspect of Functions is that they can produce varying results, depending on their input. For whatever reason, the input accepted by a Function is called an "argument." <span class="application"><strong>SuperCollider</strong></span>'s Functions can accept any number of arguments - zero, one, or many. Argument values (called "parameters") are provided to a Function by adding them in parentheses after the name of the Function, separated with commas, like this: <code class="code">exampleFunction( 5, 7, 9 );</code> Argument variables are declared as the first statement in a Function, like this: <code class="code">arg oneNumber, twoNumber;</code>
</div><div class="para">
- This program is significantly more complicated than previous examples, but it shows how useful Functions can be. Notice how the braces in that example are on different lines than the rest of the Function, which gives us more space within the Function to complete some useful work. [pre] ( var greeter = { arg name; ( "Hello" + name ).postln; }; greeter.value( "Samantha" ); greeter.value( "Jermain" ); nil; ) [/pre] Here is how the program works:
+ This program is significantly more complicated than previous examples, but it shows how useful Functions can be. Notice how the braces in that example are on different lines than the rest of the Function, which gives us more space within the Function to complete some useful work.
+<pre class="programlisting">
+(
+ var greeter =
+ {
+ arg name;
+ ( "Hello" + name ).postln;
+ };
+
+ greeter.value( "Samantha" );
+ greeter.value( "Jermain" );
+ nil;
+)
+</pre>
+ Here is how the program works:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
A variable named <code class="code">greeter</code> is declared, and assigned a Function.
</div></li><li class="listitem"><div class="para">
@@ -17,11 +31,27 @@
</div></li></ol></div>
</div><div class="para">
- Since every argument has a name, SuperCollider allows you to use that name when executing the Function. This example executes the <code class="code">greeter</code> Function from the last example: [pre]greeter.value( name:"Myung-Whun" );[/pre] This is more useful if there are many arguments, and you do not remember the order that they appear in the Function's definition.
+ Since every argument has a name, <span class="application"><strong>SuperCollider</strong></span> allows you to use that name when executing the Function. This example executes the <code class="code">greeter</code> Function from the last example: <code class="code">greeter.value( name:"Myung-Whun" );</code> This is more useful if there are many arguments, and you do not remember the order that they appear in the Function's definition.
</div><div class="para">
- SuperCollider also allows you to specify default values for arguments, so that they do not need to be specified. This allows optional customization of a Function's behaviour, and is therefore very powerful.
+ <span class="application"><strong>SuperCollider</strong></span> also allows you to specify default values for arguments, so that they do not need to be specified. This allows optional customization of a Function's behaviour, and is therefore very powerful.
</div><div class="para">
- This example modifies the one above by adding default-value arguments, and by calling arguments with their name. As you can see, I've been tricking you a bit: <code class="code">postln</code> is actually a Function, but a special kind, explained later. [pre] ( var greeter = { arg name, greeting = "Hello"; postln( greeting + name ); }; greeter.value( "Samantha" ); greeter.value( "Jermain", "Goodbye" ); greeter.value( name:"Myung-Whun" ); greeter.value( greeting:"Bienvenue", name:"Marcel" ); nil; ) [/pre]
+ This example modifies the one above by adding default-value arguments, and by calling arguments with their name. As you can see, I've been tricking you a bit: <code class="code">postln</code> is actually a Function, but a special kind, explained later.
+<pre class="programlisting">
+(
+ var greeter =
+ {
+ arg name, greeting = "Hello";
+ postln( greeting + name );
+ };
+
+ greeter.value( "Samantha" );
+ greeter.value( "Jermain", "Goodbye" );
+ greeter.value( name:"Myung-Whun" );
+ greeter.value( greeting:"Bienvenue", name:"Marcel" );
+ nil;
+)
+</pre>
+
</div><div class="para">
Any value can be used as a parameter, as long as the Function expects it. In fact, even Functions can be used as parameters for Functions!
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Prev</strong>11.4.2.3. Functions</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html"><strong>Next</strong>11.4.2.5. Function Return Values</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html
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+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values.html
@@ -1,9 +1,24 @@
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<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.2.5. Function Return Values</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2. Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html" title="11.4.2.4. Function Arguments" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html" title="11.4.2.6. Variable Scope" /></head><body class="draft
toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.5. Function Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values"><div class="titlepage"><div>
<div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Return_Values">11.4.2.5. Function Return Values</h4></div></div></div><div class="para">
- All SuperCollider Functions return a value to the interpreter when they have finished execution. As with programs, the value returned is the value of the last statement in the Function. The return value of a Function can be captured, assigned to a variable, and used again later.
+ All <span class="application"><strong>SuperCollider</strong></span> Functions return a value to the interpreter when they have finished execution. As with programs, the value returned is the value of the last statement in the Function. The return value of a Function can be captured, assigned to a variable, and used again later.
</div><div class="para">
- This example assigns the result of a Function to a variable. [pre] ( var mysticalMath = { arg input = 0; input * 23; }; var someNumber = 9; someNumber = mysticalMath.value( someNumber ); someNumber.postln; nil; ) [/pre] Here is how the program works:
+ This example assigns the result of a Function to a variable.
+<pre class="programlisting">
+(
+ var mysticalMath =
+ {
+ arg input = 0;
+ input * 23;
+ };
+ var someNumber = 9;
+
+ someNumber = mysticalMath.value( someNumber );
+ someNumber.postln;
+ nil;
+)
+</pre>
+ Here is how the program works:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
A Function and variable are created, and assigned values.
</div></li><li class="listitem"><div class="para">
@@ -13,9 +28,36 @@
</div></li></ol></div>
</div><div class="para">
- The program could have been shortened like this: [pre] ( var mysticalMath = { arg input = 0; input * 23; }; var someNumber = mysticalMath.value( 9 ); someNumber.postln; nil; ) [/pre]
+ The program could have been shortened like this:
+<pre class="programlisting">
+(
+ var mysticalMath =
+ {
+ arg input = 0;
+ input * 23;
+ };
+
+ var someNumber = mysticalMath.value( 9 );
+ someNumber.postln;
+ nil;
+)
+</pre>
+
</div><div class="para">
- It could have been shortened even more like this: [pre] ( var mysticalMath = { arg input = 0; input * 23; }; mysticalMath.value( 9 ).postln; nil; ) [/pre]
+ It could have been shortened even more like this:
+<pre class="programlisting">
+(
+ var mysticalMath =
+ {
+ arg input = 0;
+ input * 23;
+ };
+
+ mysticalMath.value( 9 ).postln;
+ nil;
+)
+</pre>
+
</div><div class="para">
Experiment with the shortened versions of the program, ensuring that you know why they work.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Prev</strong>11.4.2.4. Function Arguments</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-.html"><strong>Next</strong>11.4.2.6. Variable Scope</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html
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@@ -3,7 +3,15 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.2.3. Functions</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2. Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html" title="11.4.2.2. Using Variables" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html" title="11.4.2.4. Function Arguments" /></head><body class="dra
ft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.3. Functions" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions"><div class="titlepage"><div><div kee
p-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions">11.4.2.3. Functions</h4></div></div></div><div class="para">
A Function is a statement, or a series of statements, that we want to use many times. When a Function is assigned to a variable, you can execute the Function as many times as you wish. Any statements that happen between braces { like this; } are treated as a Function. Functions are executed by passing them the "value" message, as in the following example.
</div><div class="para">
- Here is a Function that is not assigned to a variable, and is executed once. [pre]{ "Hello, World!".postln; }.value;[/pre] Notice that there are two semicolons: one after the statement within the Function, and one after the "value" message that tells the Function to execute.
+ Here is a Function that is not assigned to a variable, and is executed once.
+<pre class="programlisting">{ "Hello, World!".postln; }.value;</pre>
+ Notice that there are two semicolons: one after the statement within the Function, and one after the "value" message that tells the Function to execute.
</div><div class="para">
- Here is a Function with identical function, assigned to a variable, and executed twice. [pre] var myFunction = { "Hello, World!".postln; }; // note two semicolons myFunction.value; myFunction.value; [/pre]
+ Here is a Function with identical function, assigned to a variable, and executed twice.
+<pre class="programlisting">
+var myFunction = { "Hello, World!".postln; }; // note two semicolons
+myFunction.value;
+myFunction.value;
+</pre>
+
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html"><strong>Prev</strong>11.4.2.2. Using Variables</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Function_Arguments.html"><strong>Next</strong>11.4.2.4. Function Arguments</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html
index 8fb9368..e722a19 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables.html
@@ -3,13 +3,21 @@
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4.2.2. Using Variables</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2. Variables and Functions" /><link rel="prev" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2. Variables and Functions" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html" title="11.4.2.3. Functions" /></head><body class="draft toc_embeded "><div
id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html"><strong>Next</strong></a></li></ul><div class="section" title="11.4.2.2. Using Variables" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables"><div class="titlepage"><div><div keep-together.within-column="always"><
h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Using_Variables">11.4.2.2. Using Variables</h4></div></div></div><div class="para">
There are three words that describe the key stages of using a variable: declaration, initialization, and assignment.
</div><div class="para">
- A variable must be declared before use, so that the interpreter knows that you want to use that symbol as a variable. All variables must be declared before any statement that does not declare a variable; in other words, you should declare your variables before doing anything else. Variable names are declared like this: [pre]var variableName;[/pre] Variables can also be declared in lists, like this: [pre]var variableOne, variableTwo;[/pre]
+ A variable must be declared before use, so that the interpreter knows that you want to use that symbol as a variable. All variables must be declared before any statement that does not declare a variable; in other words, you should declare your variables before doing anything else. Variable names are declared like this:
+<pre class="programlisting">var <em class="replaceable"><code>variableName</code></em>;</pre>
+ Variables can also be declared in lists, like this:
+<pre class="programlisting">var <em class="replaceable"><code>variableName</code></em>, <em class="replaceable"><code>variableOtherName</code></em>;</pre>
+
</div><div class="para">
Variables can be assigned a value at any time after they have been declared. Any single object can be assigned to a variable. If a variable is already assigned a value, any subsequent assignment will erase the previous assignment; the previously-assigned value will is not retrievable.
</div><div class="para">
- The first assignment to a variable is said to "initialize" the variable. Initialization is a special kind of assignment, because a variable cannot be used before it is initialized. If a program attempts to use an un-initialized variable, the SuperCollider interpreter will cause an error. For this reason, you should always initialize a variable when you declare it. There is a special way to do this: [pre]var variableName = nil;[/pre] Since you can't always assign a useful value, you can pick an arbitrary one. Assigning "nil" is common practice, because it means "nothing," but without actually being nothing (this avoids ''some'' errors). Assigning zero is another possibility; it is standard practice in many programming languages, and will avoid most errors, even if the variable is eventually supposed to hold another kind of object. Intialization and declaration of multiple variables can also be done as a list: [pre]var variableOne = 0, variableTwo = 0;[/pre]
+ The first assignment to a variable is said to "initialize" the variable. Initialization is a special kind of assignment, because a variable cannot be used before it is initialized. If a program attempts to use an un-initialized variable, the <span class="application"><strong>SuperCollider</strong></span> interpreter will cause an error. For this reason, you should always initialize a variable when you declare it. There is a special way to do this:
+<pre class="programlisting">var <em class="replaceable"><code>variableName</code></em> = nil;</pre>
+ Since you can't always assign a useful value, you can pick an arbitrary one. Assigning "nil" is common practice, because it means "nothing," but without actually being nothing (this avoids ''some'' errors). Assigning zero is another possibility; it is standard practice in many programming languages, and will avoid most errors, even if the variable is eventually supposed to hold another kind of object. Intialization and declaration of multiple variables can also be done as a list:
+<pre class="programlisting">var <em class="replaceable"><code>variableName</code></em> = 0, <em class="replaceable"><code>variableOtherName</code></em> = 0;</pre>
+
</div><div class="para">
- Single-letter variable names have a special purpose in SuperCollider. They are already declared, so you don't have to declare them. They are also already initialized to "nil", so you don't have to do that either. These variable names are intended to be used as a quick fix, while you're experimenting with how to make a program work. You should not use them in good-quality programs.
+ Single-letter variable names have a special purpose in <span class="application"><strong>SuperCollider</strong></span>. They are already declared, so you don't have to declare them. They are also already initialized to "nil", so you don't have to do that either. These variable names are intended to be used as a quick fix, while you're experimenting with how to make a program work. You should not use them in good-quality programs.
</div><div class="para">
The single-letter variable "s" is automatically assigned to the server on the computer running the interpreter. You should avoid re-assigning that variable.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html
index 1245286..67ee52f 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html
@@ -9,7 +9,18 @@
</div><div class="para">
SuperCollider's variables work in the same way: you tell the interpreter that you want to use a symbol, like <code class="code">cheese</code>. Then you assign <code class="code">cheese</code> a value, like <code class="code">5</code>. After that point, whenever you use <code class="code">cheese</code>, the interpreter will automatically know that what you really mean is <code class="code">5</code>.
</div><div class="para">
- Run the following two programs. They should result in the same output. [pre] ( 5 + 5; ) [/pre] [pre] ( var cheese; cheese = 5; cheese + cheese; ) [/pre]
+ Run the following two programs. They should result in the same output.
+<pre class="programlisting">
+(
+ 5 + 5;
+)
+(
+ var x;
+ x = 5;
+ x + x;
+)
+</pre>
+
</div><div class="para">
In the first example, the program calculates the value of <code class="code">5 + 5</code>, which is <code class="code">10</code>, and returns that to the interpreter, which prints it out. In the second example, the program tells the interpreter that it wants to use a variable called <code class="code">cheese</code> then it assigns cheese the value <code class="code">5</code>. Finally, the program calculates <code class="code">cheese + cheese</code>, which it understands as meaning <code class="code">5 + 5</code>, and returns <code class="code">10</code> to the interpreter, which prints it out.
</div><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html
index 4fbae38..38a9e1e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html
@@ -1,7 +1,13 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.5.5. Creating Ten Pseudo-Random Tones</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-SuperCollider-Composing.html" title="11.5. Composing with SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html" title="11.5.4. Designing the Second Part" /><link rel="next" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html" title="11.5.6. Scheduling the Tones" /></head><body class="draft toc_embeded "><div id="tocdiv" class="
toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Designing_the_Second_Part.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html"><strong>Next</strong></a></li></ul><div class="section" title="11.5.5. Creating Ten Pseudo-Random Tones" id="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-C
omposing-Creating_Ten_Pseudo-Random-Tones">11.5.5. Creating Ten Pseudo-Random Tones</h3></div></div></div><div class="procedure"><ol class="1"><li class="step" title="Step 1"><div class="para">
- We'll start again with something simple, that we know how to do. [pre]{ SinOsc.ar(); }.play;[/pre]
+ We'll start again with something simple, that we know how to do.
+<pre class="programlisting">
+{
+ SinOsc.ar();
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 2"><div class="para">
We already know that we want this to produce stereo output, and we already know that we're going to be using enough SinOsc's that we'll need to reduce "mul." Keeping in mind that there will be ten pitches, and two SinOsc's for each of them, set both of those things now, keeping just one pitch for now.
</div></li><li class="step" title="Step 3"><div class="para">
@@ -9,11 +15,87 @@
</div></li><li class="step" title="Step 4"><div class="para">
I hope you didn't end up with two different frequencies! If you did, you'll need to use a variable to temporarily store the pseduo-random frequency, so that both sides can use it.
</div></li><li class="step" title="Step 5"><div class="para">
- Now we need to make ten of these, so copy-and-paste until there are ten different stereo pitches at once.[pre]{ var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.a
r( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ] }.play;[/pre]
+ Now we need to make ten of these, so copy-and-paste until there are ten different stereo pitches at once.
+<pre class="programlisting">
+{
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 6"><div class="para">
- It doesn't work: you'll also have to rename your frequency-setting variable each time.[pre]{ var frequency1 = 200 + 600.rand; [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] var frequency2 = 200 + 600.rand; [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ] var frequency3 = 200 + 600.rand; [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ] var frequency4 = 200 + 600.rand; [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ] var frequency5 = 200 + 600.rand; [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ] var frequency6 = 200 + 600.rand; [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ] var frequency7 = 200 + 600.rand; [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ] var frequency8 = 200 + 600.rand; [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinO
sc.ar( freq:frequency8, mul:0.01 ) ] var frequency9 = 200 + 600.rand; [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ] var frequency0 = 200 + 600.rand; [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ] }.play;[/pre]
+ It doesn't work: you'll also have to rename your frequency-setting variable each time.
+<pre class="programlisting">
+{
+ var frequency1 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]
+ var frequency2 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ]
+ var frequency3 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ]
+ var frequency4 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ]
+ var frequency5 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ]
+ var frequency6 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ]
+ var frequency7 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ]
+ var frequency8 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ]
+ var frequency9 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ]
+ var frequency0 = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ]
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 7"><div class="para">
- It still doesn't work! The error given in the "SuperCollider output" window is not easy to understand, but it means "You have to put all of your variable declarations before everything else."[pre]{ var frequency1 = 200 + 600.rand; var frequency2 = 200 + 600.rand; var frequency3 = 200 + 600.rand; var frequency4 = 200 + 600.rand; var frequency5 = 200 + 600.rand; var frequency6 = 200 + 600.rand; var frequency7 = 200 + 600.rand; var frequency8 = 200 + 600.rand; var frequency9 = 200 + 600.rand; var frequency0 = 200 + 600.rand; [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ] [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ] [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ] [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ] [ SinOsc.ar( freq:frequency6, mul:0.01 ),
SinOsc.ar( freq:frequency6, mul:0.01 ) ] [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ] [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ] [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ] [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ] }.play;[/pre]
+ It still doesn't work! The error given in the "SuperCollider output" window is not easy to understand, but it means "You have to put all of your variable declarations before everything else."
+<pre class="programlisting">
+{
+ var frequency1 = 200 + 600.rand;
+ var frequency2 = 200 + 600.rand;
+ var frequency3 = 200 + 600.rand;
+ var frequency4 = 200 + 600.rand;
+ var frequency5 = 200 + 600.rand;
+ var frequency6 = 200 + 600.rand;
+ var frequency7 = 200 + 600.rand;
+ var frequency8 = 200 + 600.rand;
+ var frequency9 = 200 + 600.rand;
+ var frequency0 = 200 + 600.rand;
+
+ [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ]
+ [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ]
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 8"><div class="para">
It still doesn't work! SuperCollider is confused because I was been lazy and didn't include enough semicolons. The error we get is, "Index not an Integer," which is a clue as to what SuperCollider is trying to do (but it's irrelevant). The real problem is that SuperCollider interprets our ten stereo arrays as all being part of the same statement. We don't want them to be the same statement, however, because we want ten ''different'' stereo arrays to be played. Fix this problem by putting a semicolon at the end of each stereo array. You don't ''need'' to include one at the end of the last statement, because SuperCollider assumes the end of the statement when it encounters a } (end-of-function marker) after it. Since we're still building our code, we might move these around or add something aftwards, so it's better to include a semicolon at the end of each stereo array.
</div></li><li class="step" title="Step 9"><div class="para">
@@ -21,9 +103,42 @@
</div></li><li class="step" title="Step 10"><div class="para">
Only one SinOsc array gets played, and it's the last one. This is because the last statement is returned by the function that ends at } and it is that result which gets sent to the following .play
</div></li><li class="step" title="Step 11"><div class="para">
- To fix this, and ensure that all of the stereo arrays are played, you should remove the .play from the end of the function, and add a .play to each stereo array statement. You end up with [pre]{ var frequency1 = 200 + 600.rand; var frequency2 = 200 + 600.rand; var frequency3 = 200 + 600.rand; var frequency4 = 200 + 600.rand; var frequency5 = 200 + 600.rand; var frequency6 = 200 + 600.rand; var frequency7 = 200 + 600.rand; var frequency8 = 200 + 600.rand; var frequency9 = 200 + 600.rand; var frequency0 = 200 + 600.rand; [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ].play; [ SinOsc.ar( f
req:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ].play; [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ].play; }[/pre]
+ To fix this, and ensure that all of the stereo arrays are played, you should remove the .play from the end of the function, and add a .play to each stereo array statement. You end up with
+<pre class="programlisting">
+{
+ var frequency1 = 200 + 600.rand;
+ var frequency2 = 200 + 600.rand;
+ var frequency3 = 200 + 600.rand;
+ var frequency4 = 200 + 600.rand;
+ var frequency5 = 200 + 600.rand;
+ var frequency6 = 200 + 600.rand;
+ var frequency7 = 200 + 600.rand;
+ var frequency8 = 200 + 600.rand;
+ var frequency9 = 200 + 600.rand;
+ var frequency0 = 200 + 600.rand;
+
+ [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ].play;
+ [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ].play;
+}
+</pre>
+
</div></li><li class="step" title="Step 12"><div class="para">
- When you execute this, no sound is produced, but SuperCollider outputs "a Function." Can you think of why this happens? It's because you wrote a function, but never told SuperCollider to evaluate it! At the end of execution, SuperCollider just throws away the function, because it's never used. This is the same thing that happened to the first nine stereo arrays - they were created, but you never said to do anything with them, so they were just thrown out. We need to execute the function. Because it doesn't produce a UGen, we can't use "play," so we have to use "value" instead. You can choose to do either of these:[pre]{ ... }.value;[/pre] or [pre]var myFunction = { ... }; myFunction.value;[/pre]
+ When you execute this, no sound is produced, but SuperCollider outputs "a Function." Can you think of why this happens? It's because you wrote a function, but never told SuperCollider to evaluate it! At the end of execution, SuperCollider just throws away the function, because it's never used. This is the same thing that happened to the first nine stereo arrays - they were created, but you never said to do anything with them, so they were just thrown out. We need to execute the function. Because it doesn't produce a UGen, we can't use "play," so we have to use "value" instead. You can choose to do either of these:
+<pre class="programlisting">{ ... }.value;</pre>
+ or
+<pre class="programlisting">
+var myFunction = { ... };
+myFunction.value;
+</pre>
+
</div></li><li class="step" title="Step 13"><div class="para">
This gives us yet another error, as if we can't play the stereo arrays! In fact, we can't - and we didn't do it in the first part, either. We play'ed the result of returning a stereo array from a function. The subtle difference isn't important yet - we're just trying to make this work! Use { and } to build a function for .play to .play
</div></li><li class="step" title="Step 14"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html
index b26300f..8841158 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Designing_the_First_Part.html
@@ -7,9 +7,32 @@
</div></li><li class="step" title="Step 3"><div class="para">
Now it sounds balanced, at least, like it's coming from the middle. But it's still boring, so I added a frequency-changing SinOsc to the right channel, resulting in <code class="code">{ [ SinOsc.ar(), SinOsc.ar(SinOsc.kr(1,50,300)) ] }.play;</code>
</div></li><li class="step" title="Step 4"><div class="para">
- Since that's difficult to read, and since I know that I'm just going to keep adding things, I expand the code a little bit to make it more legible. This gives me [pre]{ var left = SinOsc.ar(); var right = SinOsc.ar( SinOsc.kr( 1, 50, 300 ) ); [ left, right ] }.play;[/pre]I define a variable holding everything I want in the left channel, then the same for the right. I still use the [ , ] array notation to create a stereo array. Remember that SuperCollider functions return the last value stated, so it might look like the stereo array is ignored, but because this array is what is returned by the function contained between { and }, it is this array that gets played by the following ".play;"
+ Since that's difficult to read, and since I know that I'm just going to keep adding things, I expand the code a little bit to make it more legible. This gives me
+<pre class="programlisting">
+{
+ var left = SinOsc.ar();
+ var right = SinOsc.ar( SinOsc.kr( 1, 50, 300 ) );
+
+ [ left, right ]
+
+}.play;
+</pre>
+ I define a variable holding everything I want in the left channel, then the same for the right. I still use the [ , ] array notation to create a stereo array. Remember that SuperCollider functions return the last value stated, so it might look like the stereo array is ignored, but because this array is what is returned by the function contained between { and }, it is this array that gets played by the following ".play;"
</div></li><li class="step" title="Step 5"><div class="para">
- I also added a frequency controller to the left SinOsc, and realized that it's getting a bit difficult to read again, especially if I wanted to add another parameter to the SinOsc.ar objects. So I placed the SinOsc.kr's into their own variables: frequencyL and frequencyR. This results in [pre]{ var frequencyL = SinOsc.kr( freq:10, mul:200, add:400 ); var frequencyR = SinOsc.kr( freq:1, mul:50, add:150 ); var left = SinOsc.ar( frequencyL ); var right = SinOsc.ar( frequencyR ); [ left, right ] }.play;[/pre]
+ I also added a frequency controller to the left SinOsc, and realized that it's getting a bit difficult to read again, especially if I wanted to add another parameter to the SinOsc.ar objects. So I placed the SinOsc.kr's into their own variables: frequencyL and frequencyR. This results in
+<pre class="programlisting">
+{
+ var frequencyL = SinOsc.kr( freq:10, mul:200, add:400 );
+ var frequencyR = SinOsc.kr( freq:1, mul:50, add:150 );
+
+ var left = SinOsc.ar( frequencyL );
+ var right = SinOsc.ar( frequencyR );
+
+ [ left, right ]
+
+}.play;
+</pre>
+
</div></li><li class="step" title="Step 6"><div class="para">
Now I can experiment with the frequency-changing SinOsc's, to make sure that I get things just right. When I realize what the parameters do, I make a note for myself (see "FSC-method-1-.sc"), so that it will be easy to adjust it later. I also explicitly call the parameters. This isn't necessary, but it also helps to avoid future confusion. Most programmers would not explicitly call the parameters, but we're musicians, not programmers.
</div></li><li class="step" title="Step 7"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html
index f3b4b42..59f5b1e 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Joining_the_Two_Parts.html
@@ -49,5 +49,13 @@
</div></li></ul></div>
</div></li></ol></li><li class="step" title="Step 7"><div class="para">
- Try to schedule the events for yourself, then test your program to make sure that it works as you intended. Here's what I wrote: [pre] t_c.sched( 1, { sound = Synth.new( \FirstPart ); } ); t_c.sched( 61, { sound.free; } ); t_c.sched( 61, { secondPart.value; nil; } ); t_c.sched( 113, { sound = Synth.new( \FirstPart ); } ); t_c.sched( 143, { sound.free; } ); [/pre] Why is the "nil" required after "secondPart"? Because that function returns a number. As you know, any scheduled function which returns a number will re-schedule itself to run that many beats after the previous execution began. Since "secondPart" returns the number of seconds it takes to finish, it will always be re-started as soon as it finishes. Including "nil" disallows this repetition.
+ Try to schedule the events for yourself, then test your program to make sure that it works as you intended. Here's what I wrote:
+<pre class="programlisting">
+t_c.sched( 1, { sound = Synth.new( \FirstPart ); } );
+t_c.sched( 61, { sound.free; } );
+t_c.sched( 61, { secondPart.value; nil; } );
+t_c.sched( 113, { sound = Synth.new( \FirstPart ); } );
+t_c.sched( 143, { sound.free; } );
+</pre>
+ Why is the "nil" required after "secondPart"? Because that function returns a number. As you know, any scheduled function which returns a number will re-schedule itself to run that many beats after the previous execution began. Since "secondPart" returns the number of seconds it takes to finish, it will always be re-started as soon as it finishes. Including "nil" disallows this repetition.
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Prev</strong>11.5.8. Making a Useful Section out of the Second...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SuperCollider-Exporting.html"><strong>Next</strong>11.6. Exporting Sound Files</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html
index dfb7f84..ad74a48 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html
@@ -5,17 +5,127 @@
</div><div class="para">
You can skip this section, and return later. The actions for the rest of the tutorial remain unchanged whether you do or do not make the modifications in this section.
</div><div class="para">
- Here's what I have from the previous step: [pre] var t_c = TempoClock.default; var secondPart = { var so = Array.new( 10 ); var func = { var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]; }; 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } ); 10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } ); }; [/pre] This Function is the perfect solution if you want ten pseudo-random pitches between 200 Hz and 800 Hz, and a five-second pause between each one. If you want nine or eleven pitches, if you want them to eb between 60 Hz and 80Hz, if you want a six-second pause between each - you would have to modify the Function. If you don't remember how it works, or if you give it to a friend, you're going to have to figure out how it works before you modify it. This is not an ideal solution.
+ Here's what I have from the previous step:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+var secondPart =
+{
+ var so = Array.new( 10 );
+
+ var func =
+ {
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ];
+ };
+
+ 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } );
+ 10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );
+
+};
+</pre>
+ This Function is the perfect solution if you want ten pseudo-random pitches between 200 Hz and 800 Hz, and a five-second pause between each one. If you want nine or eleven pitches, if you want them to eb between 60 Hz and 80Hz, if you want a six-second pause between each - you would have to modify the Function. If you don't remember how it works, or if you give it to a friend, you're going to have to figure out how it works before you modify it. This is not an ideal solution.
</div><div class="para">
- Let's solve these problems one at a time, starting with allowing a different number of SinOsc synths to be created. We know that we'll have to create an argument, and that it will have to be used wherever we need the number of SinOsc's. Also, to preserve functionality, we'll make a default assignment of 10. Try to accomplish this yourself, making sure to test your Function so that you know it works. Here's what I did: [pre] var t_c = TempoClock.default; var secondPart = { arg number_of_SinOscs = 10; var so = Array.new( number_of_SinOscs ); var func = { var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]; }; number_of_SinOscs.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } ); number_of_SinOscs.do( { arg index; t_c.sched( 51, { so[index].free; } ); } ); }; [/pre] The "do" loop doesn't need a constant number; it's fine with a variable. What happens when you pass a bad argumen
t, like a string? This would be an easy way to sabotage your program, and in almost any other programming context it would concern us, but this is just audio programming. If somebody is going to try to create "cheese" SinOsc's, it's their own fault for mis-using the Function.
+ Let's solve these problems one at a time, starting with allowing a different number of SinOsc synths to be created. We know that we'll have to create an argument, and that it will have to be used wherever we need the number of SinOsc's. Also, to preserve functionality, we'll make a default assignment of 10. Try to accomplish this yourself, making sure to test your Function so that you know it works. Here's what I did:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+var secondPart =
+{
+ arg number_of_SinOscs = 10;
+
+ var so = Array.new( number_of_SinOscs );
+
+ var func =
+ {
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ];
+ };
+
+ number_of_SinOscs.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } );
+ number_of_SinOscs.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );
+
+};
+</pre>
+ The "do" loop doesn't need a constant number; it's fine with a variable. What happens when you pass a bad argument, like a string? This would be an easy way to sabotage your program, and in almost any other programming context it would concern us, but this is just audio programming. If somebody is going to try to create "cheese" SinOsc's, it's their own fault for mis-using the Function.
</div><div class="para">
- Now let's modify the Function so that we can adjust the range of frequencies that the Function will generate. We know that we'll need two more arguments, and that they'll have to be used in the equation to calculate the frequency. But we'll also need to do a bit of arithmetic, because of the way the "rand" Function works (actually we don't - see the "rand" Function's help file). Also, to preserve functionality, we'll make default assignments of 200 and 800. Try to accomplish this yourself, making sure that you test the Function so you know it works. Here's what I did: [pre] var t_c = TempoClock.default; var secondPart = { arg number_of_SinOscs = 10, pitch_low = 200, pitch_high = 800; var so = Array.new( number_of_SinOscs ); var func = { var freq = pitch_low + (pitch_high - pitch_low).rand; [ SinOsc.ar( freq:freq, mul:0.01), SinOsc.ar( freq:freq, mul:0.01) ]; }; number_of_SinOscs.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } ); num
ber_of_SinOscs.do( { arg index; t_c.sched( 51, { so[index].free; } ); } ); }; [/pre] Notice that I changed the name of the variables, and the indentation in the "func" sub-Function, to make it easier to read. This isn't a particularly difficult change.
+ Now let's modify the Function so that we can adjust the range of frequencies that the Function will generate. We know that we'll need two more arguments, and that they'll have to be used in the equation to calculate the frequency. But we'll also need to do a bit of arithmetic, because of the way the "rand" Function works (actually we don't - see the "rand" Function's help file). Also, to preserve functionality, we'll make default assignments of 200 and 800. Try to accomplish this yourself, making sure that you test the Function so you know it works. Here's what I did:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+var secondPart =
+{
+ arg number_of_SinOscs = 10,
+ pitch_low = 200,
+ pitch_high = 800;
+
+ var so = Array.new( number_of_SinOscs );
+
+ var func =
+ {
+ var freq = pitch_low + (pitch_high - pitch_low).rand;
+ [ SinOsc.ar( freq:freq, mul:0.01),
+ SinOsc.ar( freq:freq, mul:0.01) ];
+ };
+
+ number_of_SinOscs.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } );
+ number_of_SinOscs.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );
+
+};
+</pre>
+ Notice that I changed the name of the variables, and the indentation in the "func" sub-Function, to make it easier to read. This isn't a particularly difficult change.
</div><div class="para">
Now let's allow the user to set the length of time between each SinOsc appears. We will need one more argument, used in the scheduling command. Try to accomplish this yourself, and if you run into difficulty, the next paragraph contains some tips.
</div><div class="para">
- The change to the "do" loop which schedules the SinOsc's to play is almost trivial. My new argument is called "pause_length", (meaning "the length of the pause, in seconds, between adding each SinOsc"), so I get this modification: [pre] number_of_SinOscs.do( { arg time; secondPart_clock.sched( (1+(time*5)), { sounds = sounds.add( func.play ); } ); }); [/pre] Again, I changed the indentation, and the names of the variables in this sub-Function. Recall that the "1+" portion is designed to add a one-second pause to the start of the Function's execution. The problem comes in the next "do" loop, where we have to know how the number of beats from now will be five seconds after the last SinOsc is added. We'll have to calculate it, so I added a variable to store the value after it's calculated. This also allows us to return it, as a convenience to the Function that called this one, so that it knows how long until this Function is finished. Try adding this yourself, then testing t
he Function to ensure that it works. I got this: [pre] var t_c = TempoClock.default; var secondPart = { arg number_of_SinOscs = 10, pitch_low = 200, pitch_high = 800, pause_length = 5; var so = Array.new( number_of_SinOscs ); var when_to_stop = ( 1 + ( pause_length * number_of_SinOscs ) ); var func = { var freq = pitch_low + (pitch_high - pitch_low).rand; [ SinOsc.ar( freq:freq, mul:0.01), SinOsc.ar( freq:freq, mul:0.01) ]; }; number_of_SinOscs.do( { arg time; t_c.sched( (1+(time*5)), { so = so.add( func.play ); } ); }); t_c.sched( when_to_stop, { number_of_SinOscs.do( { arg index; so[index].free; } ); nil; }); when_to_stop; }; [/pre] I decided to "invert" the "free-ing" of the SinOsc's. Rather than scheduling number_of_SinOscs Function-calls at some point in the future, I decided to schedule one thing: a "do" loop that does the work. The indentation looks strange, but sometimes there's not much you can do about that. The "when_to_stop" variable must be the last thing in the
Function, so that the interpreter returns it to the Function's caller.
+ The change to the "do" loop which schedules the SinOsc's to play is almost trivial. My new argument is called "pause_length", (meaning "the length of the pause, in seconds, between adding each SinOsc"), so I get this modification: number_of_SinOscs.do(
+<pre class="programlisting">
+{
+ arg time;
+ secondPart_clock.sched( (1+(time*5)), { sounds = sounds.add( func.play ); } );
+});
+</pre>
+ Again, I changed the indentation, and the names of the variables in this sub-Function. Recall that the "1+" portion is designed to add a one-second pause to the start of the Function's execution. The problem comes in the next "do" loop, where we have to know how the number of beats from now will be five seconds after the last SinOsc is added. We'll have to calculate it, so I added a variable to store the value after it's calculated. This also allows us to return it, as a convenience to the Function that called this one, so that it knows how long until this Function is finished. Try adding this yourself, then testing the Function to ensure that it works. I got this:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+var secondPart =
+{
+ arg number_of_SinOscs = 10,
+ pitch_low = 200,
+ pitch_high = 800,
+ pause_length = 5;
+
+ var so = Array.new( number_of_SinOscs );
+
+ var when_to_stop = ( 1 + ( pause_length * number_of_SinOscs ) );
+
+ var func =
+ {
+ var freq = pitch_low + (pitch_high - pitch_low).rand;
+ [ SinOsc.ar( freq:freq, mul:0.01),
+ SinOsc.ar( freq:freq, mul:0.01) ];
+ };
+
+ number_of_SinOscs.do(
+ {
+ arg time;
+ t_c.sched( (1+(time*5)), { so = so.add( func.play ); } );
+ });
+
+ t_c.sched( when_to_stop,
+ {
+ number_of_SinOscs.do( { arg index; so[index].free; } );
+ nil;
+ });
+
+ when_to_stop;
+};
+</pre>
+ I decided to "invert" the "free-ing" of the SinOsc's. Rather than scheduling number_of_SinOscs Function-calls at some point in the future, I decided to schedule one thing: a "do" loop that does the work. The indentation looks strange, but sometimes there's not much you can do about that. The "when_to_stop" variable must be the last thing in the Function, so that the interpreter returns it to the Function's caller.
</div><div class="para">
- In order to retain the "bare minimum" robustness to be used elsewhere, we can't rely on the "TempoClock.default" clock having the tempo we expect, and we certainly can't rely on it being declared as "t_c". The solution is quite easy: create a new TempoClock within the Function. [pre] var t_c = TempoClock.new; // default tempo is one beat per second [/pre] We could hypothetically use the "SystemClock", since we're measuring time strictly in seconds. But, using a TempoClock is preferred for two reasons:
+ In order to retain the "bare minimum" robustness to be used elsewhere, we can't rely on the "TempoClock.default" clock having the tempo we expect, and we certainly can't rely on it being declared as "t_c". The solution is quite easy: create a new TempoClock within the Function.
+<pre class="programlisting">var t_c = TempoClock.new; // default tempo is one beat per second</pre>
+ We could hypothetically use the "SystemClock", since we're measuring time strictly in seconds. But, using a TempoClock is preferred for two reasons:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
It has the word "tempo" in its name, and it's designed for scheduling musical events; the "SystemClock" is for system events.
</div></li><li class="listitem"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html
index 217391c..209437b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html
@@ -53,15 +53,42 @@
</div></li><li class="step" title="Step 14"><div class="para">
Getting the next two loops working is a little bit more complicated. We know how to run the exact same code in a loop, but we don't know how to change it subtly (by supplying different index numbers for the array, for example). Thankfully, SuperCollider provides a way to keep track of how many times the function in a loop has already been run. The first argument given to a function in a loop is the number of times that the function has ''already'' been executed. The first time it is run, the function receives a 0; if we're using a <code class="code">10.do( ... );</code> loop, then the last time the function is run, it receives a 9 because the function has already been executed 9 times. Since our ten-element array is indexed from 0 to 9, this works perfectly for us.
</div></li><li class="step" title="Step 15"><div class="para">
- The code to free is shorter: <code class="code">10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );</code> This can look confusing, especially written in one line, like it is. If it helps, you might want to write it like this instead: [pre] 10.do ({ arg index; t_c.sched( 51, { so[index].free; } ); }); [/pre]Now it looks more like a typical function.
+ The code to free is shorter: <code class="code">10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );</code> This can look confusing, especially written in one line, like it is. If it helps, you might want to write it like this instead:
+<pre class="programlisting">
+10.do
+({ arg index;
+ t_c.sched( 51, { so[index].free; } );
+});
+</pre>
+ Now it looks more like a typical function.
</div></li><li class="step" title="Step 16"><div class="para">
- The next step is to simplify the original scheduling calls in a similar way, but it's slightly more complicated because we have to schedule a different number of measures for each call. With a little math, this is also not a problem - it's just a simple linear equation:[pre]number_of_measures = 5 * array_index + 1[/pre]Try to write this loop by yourself, before going to the next step.
+ The next step is to simplify the original scheduling calls in a similar way, but it's slightly more complicated because we have to schedule a different number of measures for each call. With a little math, this is also not a problem - it's just a simple linear equation: <code class="literal">number_of_measures = 5 * array_index + 1</code> Try to write this loop by yourself, before going to the next step.
</div></li><li class="step" title="Step 17"><div class="para">
- If you missed it, my solution is [pre] 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( sinosc[index].play; ); } ); } ); [/pre] which includes some extra parentheses to ensure that the math is computed in the right order.
+ If you missed it, my solution is
+<pre class="programlisting">10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( sinosc[index].play; ); } ); } );</pre>
+ which includes some extra parentheses to ensure that the math is computed in the right order.
</div></li><li class="step" title="Step 18"><div class="para">
The code is already much shorter, easier to understand, and easier to expand or change. There is one further optimzation that we can easily make: get rid of the sinosc array. This simply involves replacing <code class="code">sinosc[index]</code> with what all of its elements are: <code class="code">{func.value;}</code>
</div></li><li class="step" title="Step 19"><div class="para">
- The resulting program is a little different from what ended up in FSC_method_1.sc, but produces the same output. What I have is this: [pre] var t_c = TempoClock.default; { var so = Array.new( 10 ); var func = { var frequency = 200 + 600.rand; [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ]; }; 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } ); 10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } ); }.value; [/pre]
+ The resulting program is a little different from what ended up in FSC_method_1.sc, but produces the same output. What I have is this:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+{
+ var so = Array.new( 10 );
+
+ var func =
+ {
+ var frequency = 200 + 600.rand;
+ [ SinOsc.ar( freq:frequency, mul:0.01 ), SinOsc.ar( freq:frequency, mul:0.01 ) ];
+ };
+
+ 10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( {func.value;}.play; ); } ); } );
+ 10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );
+
+}.value;
+</pre>
+
</div></li><li class="step" title="Step 20"><div class="para">
Finally, assign this Function to a variable (called "secondPart", perhaps), and remove the "value" Function-call. If we leave that in, the Function will execute before the rest of the program begins!
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html"><strong>Prev</strong>11.5.6. Scheduling the Tones</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Making_a_Useful_Function_Out_of_the_Second_Part.html"><strong>Next</strong>11.5.8. Making a Useful Section out of the Second...</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html
index 32dd301..2cfc4b2 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones.html
@@ -5,11 +5,20 @@
</div></li><li class="step" title="Step 2"><div class="para">
The default TempoClock has a default tempo of one beat per second (1 Hz). This will be good enough for us. If you wanted to change the tempo, remember that you can enter a metronome setting (which is "beats per minute") by dividing the metronome setting by 60. So a metronome's 120 beats per minute would be given to a new TempoClock as <code class="code">TempoClock.new( 120/60 )</code>. Even though you could do that ahead of time and just write "2," inputting it as "120/60" makes it clearer what tempo you intend to set.
</div></li><li class="step" title="Step 3"><div class="para">
- You can schedule something on a TempoClock by using <code class="code">t_c.sched( x, f );</code>, where "f" is a function to execute, and "x" is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this: [pre]t_c.sched( 1, {{[ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]}.play;} );[/pre]
+ You can schedule something on a TempoClock by using <code class="code">t_c.sched( x, f );</code>, where "f" is a function to execute, and "x" is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this:
+<pre class="programlisting">t_c.sched( 1, {{[ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]}.play;} );</pre>
</div></li><li class="step" title="Step 4"><div class="para">
Schedule the rest, in intervals of five beats (which is five seconds). They will all be scheduled virtually instantaneously (that is, the computer will notice the slight delay between when each one is scheduled, but humans will not). I started at one beat from now, to insert a slight pause before the sound begins.
</div></li><li class="step" title="Step 5"><div class="para">
- If you've done this correctly, then we should get a build-up of ten pitches. But they never stop! This is going to take some more ingenuity to solve, because we can't just make a stereo array, play it, then throw it away. We need to hold onto the stereo array, so that we can stop it. The first step here is to store the stereo arrays in variables, and subsequently schedule them. You will end up with something like this:[pre]var sinosc1 = { [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] }; // the other nine... t_c.sched( 1, { sinosc1.play; } ); // the other nine...[/pre]
+ If you've done this correctly, then we should get a build-up of ten pitches. But they never stop! This is going to take some more ingenuity to solve, because we can't just make a stereo array, play it, then throw it away. We need to hold onto the stereo array, so that we can stop it. The first step here is to store the stereo arrays in variables, and subsequently schedule them. You will end up with something like this:
+<pre class="programlisting">
+var sinosc1 = { [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] };
+// the other nine...
+
+ t_c.sched( 1, { sinosc1.play; } );
+// the other nine...
+</pre>
+
</div></li><li class="step" title="Step 6"><div class="para">
It should still work, but we after all that cutting-and-pasting, we still haven't managed to turn off the SinOsc's. We need to "free" the object that was returned when we used the "play" function. We need to declare yet more variables: <code class="code">var so1, so2, so3, so4, so5, so6, so7, so8, so9, so0;</code> should appear anywhere before the scheduler.
</div></li><li class="step" title="Step 7"><div class="para">
@@ -17,5 +26,58 @@
</div></li><li class="step" title="Step 8"><div class="para">
Now you can add ten of these, after the existing scheduling commands: <code class="code">t_c.sched( 51, { so1.free; } );</code>. Be sure to schedule each one for 51 beats, so that they all turn off simultaneously, 5 beats after the last pitch is added.
</div></li><li class="step" title="Step 9"><div class="para">
- It should work successfully. If it doesn't, then compare what you have to this, which does work:[pre]var t_c = TempoClock.default; { var frequency1 = 200 + 600.rand; var frequency2 = 200 + 600.rand; var frequency3 = 200 + 600.rand; var frequency4 = 200 + 600.rand; var frequency5 = 200 + 600.rand; var frequency6 = 200 + 600.rand; var frequency7 = 200 + 600.rand; var frequency8 = 200 + 600.rand; var frequency9 = 200 + 600.rand; var frequency0 = 200 + 600.rand; var sinosc1 = { [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] }; var sinosc2 = { [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ] }; var sinosc3 = { [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ] }; var sinosc4 = { [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ] }; var sinosc5 = { [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ] }; var sinosc6
= { [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ] }; var sinosc7 = { [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ] }; var sinosc8 = { [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ] }; var sinosc9 = { [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ] }; var sinosc0 = { [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ] }; var so1, so2, so3, so4, so5, so6, so7, so8, so9, so0; t_c.sched( 1, { so1 = sinosc1.play; } ); t_c.sched( 6, { so2 = sinosc2.play; } ); t_c.sched( 11, { so3 = sinosc3.play; } ); t_c.sched( 16, { so4 = sinosc4.play; } ); t_c.sched( 21, { so5 = sinosc5.play; } ); t_c.sched( 26, { so6 = sinosc6.play; } ); t_c.sched( 31, { so7 = sinosc7.play; } ); t_c.sched( 36, { so8 = sinosc8.play; } ); t_c.sched( 41, { so9 = sinosc9.play; } ); t_c.sched( 46, { so0 = sinosc0.play; } ); t_c.sched( 51, { s
o1.free; } ); t_c.sched( 51, { so2.free; } ); t_c.sched( 51, { so3.free; } ); t_c.sched( 51, { so4.free; } ); t_c.sched( 51, { so5.free; } ); t_c.sched( 51, { so6.free; } ); t_c.sched( 51, { so7.free; } ); t_c.sched( 51, { so8.free; } ); t_c.sched( 51, { so9.free; } ); t_c.sched( 51, { so0.free; } ); }.value;[/pre]
+ It should work successfully. If it doesn't, then compare what you have to this, which does work:
+<pre class="programlisting">
+var t_c = TempoClock.default;
+
+{
+ var frequency1 = 200 + 600.rand;
+ var frequency2 = 200 + 600.rand;
+ var frequency3 = 200 + 600.rand;
+ var frequency4 = 200 + 600.rand;
+ var frequency5 = 200 + 600.rand;
+ var frequency6 = 200 + 600.rand;
+ var frequency7 = 200 + 600.rand;
+ var frequency8 = 200 + 600.rand;
+ var frequency9 = 200 + 600.rand;
+ var frequency0 = 200 + 600.rand;
+
+ var sinosc1 = { [ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ] };
+ var sinosc2 = { [ SinOsc.ar( freq:frequency2, mul:0.01 ), SinOsc.ar( freq:frequency2, mul:0.01 ) ] };
+ var sinosc3 = { [ SinOsc.ar( freq:frequency3, mul:0.01 ), SinOsc.ar( freq:frequency3, mul:0.01 ) ] };
+ var sinosc4 = { [ SinOsc.ar( freq:frequency4, mul:0.01 ), SinOsc.ar( freq:frequency4, mul:0.01 ) ] };
+ var sinosc5 = { [ SinOsc.ar( freq:frequency5, mul:0.01 ), SinOsc.ar( freq:frequency5, mul:0.01 ) ] };
+ var sinosc6 = { [ SinOsc.ar( freq:frequency6, mul:0.01 ), SinOsc.ar( freq:frequency6, mul:0.01 ) ] };
+ var sinosc7 = { [ SinOsc.ar( freq:frequency7, mul:0.01 ), SinOsc.ar( freq:frequency7, mul:0.01 ) ] };
+ var sinosc8 = { [ SinOsc.ar( freq:frequency8, mul:0.01 ), SinOsc.ar( freq:frequency8, mul:0.01 ) ] };
+ var sinosc9 = { [ SinOsc.ar( freq:frequency9, mul:0.01 ), SinOsc.ar( freq:frequency9, mul:0.01 ) ] };
+ var sinosc0 = { [ SinOsc.ar( freq:frequency0, mul:0.01 ), SinOsc.ar( freq:frequency0, mul:0.01 ) ] };
+
+ var so1, so2, so3, so4, so5, so6, so7, so8, so9, so0;
+
+ t_c.sched( 1, { so1 = sinosc1.play; } );
+ t_c.sched( 6, { so2 = sinosc2.play; } );
+ t_c.sched( 11, { so3 = sinosc3.play; } );
+ t_c.sched( 16, { so4 = sinosc4.play; } );
+ t_c.sched( 21, { so5 = sinosc5.play; } );
+ t_c.sched( 26, { so6 = sinosc6.play; } );
+ t_c.sched( 31, { so7 = sinosc7.play; } );
+ t_c.sched( 36, { so8 = sinosc8.play; } );
+ t_c.sched( 41, { so9 = sinosc9.play; } );
+ t_c.sched( 46, { so0 = sinosc0.play; } );
+
+ t_c.sched( 51, { so1.free; } );
+ t_c.sched( 51, { so2.free; } );
+ t_c.sched( 51, { so3.free; } );
+ t_c.sched( 51, { so4.free; } );
+ t_c.sched( 51, { so5.free; } );
+ t_c.sched( 51, { so6.free; } );
+ t_c.sched( 51, { so7.free; } );
+ t_c.sched( 51, { so8.free; } );
+ t_c.sched( 51, { so9.free; } );
+ t_c.sched( 51, { so0.free; } );
+
+}.value;
+</pre>
+
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Composing-Creating_Ten_Pseudo-Random-Tones.html"><strong>Prev</strong>11.5.5. Creating Ten Pseudo-Random Tones</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Composing-Optimizing_the_Code.html"><strong>Next</strong>11.5.7. Optimizing the Code</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html
index 520e243..586ed1c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Req_and_Inst-Recommended_Installation.html
@@ -7,7 +7,7 @@
</div><div class="para">
To install the minimum recommended installation for SuperCollider:
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- In a terminal, run [pre]su -c 'yum install supercollider supercollider-gedit'[/pre]
+ In a terminal, run <code class="command">su -c 'yum install supercollider supercollider-gedit'</code>
</div></li><li class="listitem"><div class="para">
Review the proposed installation carefully. The list may be quite long, and require a large download.
</div></li></ol></div>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html
index ebcf0ba..a923692 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SC-Using_GEdit-Start_a_Server.html
@@ -9,11 +9,22 @@
</div></li><li class="step" title="Step 3"><div class="para">
If you cannot see the window at the bottom, then select 'View > Bottom Pane' from the menu, so that it shows up. It is sometimes important to see the information that SuperCollider provides in this window.
</div></li><li class="step" title="Step 4"><div class="para">
- After enabling SuperCollider mode, the window should display a series of notices. Near the end should be something like this: [pre]RESULT = 0 Welcome to SuperCollider, for help type ctrl-c ctrl-h (Emacs) or :SChelp (vim) or ctrl-U (sced/gedit)[/pre] If this window gives a non-zero value for "RESULT," then an error has probably occurred, and you should scroll up to see what it is, and try to fix it. If you receive the following warning: "The GUI scheme 'swing' is not installed" then you will not be able to run any SuperCollider prorams that use a GUI (graphical user interface). The GUI components are not used anywhere in this Guide, and they are highly optional.
+ After enabling SuperCollider mode, the window should display a series of notices. Near the end should be something like this:
+<pre class="programlisting">
+RESULT = 0
+Welcome to SuperCollider, for help type ctrl-c ctrl-h (Emacs) or :SChelp (vim) or ctrl-U (sced/gedit)
+</pre>
+ If this window gives a non-zero value for "RESULT," then an error has probably occurred, and you should scroll up to see what it is, and try to fix it. If you receive the following warning: "The GUI scheme 'swing' is not installed" then you will not be able to run any SuperCollider prorams that use a GUI (graphical user interface). The GUI components are not used anywhere in this Guide, and they are highly optional.
</div></li><li class="step" title="Step 5"><div class="para">
You will probably also want to start a server at this point, so from the menu select 'SuperCollider > Start Server'.
</div></li><li class="step" title="Step 6"><div class="para">
After the server starts, you should see messages from "JackDriver". If a JACK server is not already started, then SuperCollider will start one automatically.
</div></li><li class="step" title="Step 7"><div class="para">
- If the SuperCollider server started successfully, you should see a message similar to this: [pre]SuperCollider 3 server ready.. JackDriver: max output latency 46.4 ms notification is on[/pre]
+ If the SuperCollider server started successfully, you should see a message similar to this:
+<pre class="programlisting">
+SuperCollider 3 server ready..
+JackDriver: max output latency 46.4 ms
+notification is on
+</pre>
+
</div></li></ol></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit.html"><strong>Prev</strong>11.3. Using GEdit to Write and Run SuperCollider ...</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Using_GEdit-Executing_Code.html"><strong>Next</strong>11.3.3. Executing Code in GEdit</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Basic_Programming.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Basic_Programming.html
index d1483ec..2bc4c45 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Basic_Programming.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-SuperCollider-Basic_Programming.html
@@ -1,17 +1,17 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4. Basic Programming in SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-SuperCollider.html" title="Chapter 11. SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html" title="11.3.4. Other Tips for Using GEdit with SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2. Variables and Functions" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="11.4. Basic Programming in SuperCollider" id="sect-Musicians_Guide-SuperCollider-Basic_Programming" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Mus
icians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in SuperCollider</h2></div></div></div><div class="para">
- As with any programming language, you will start learning SuperCollider with the basic commands, that are of little use by themselves. However, since the language is so flexible, even the most basic commands can be combined in ways that create highly complex behaviours. The example program, "Method One," was written with the goal of illustrating how a single sound-generating object can be used to create an entire composition. This tutorial does not begin with audio-generating code, which helps to emphasize that SuperCollider is primarily a programming language.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>11.4. Basic Programming in SuperCollider</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-SuperCollider.html" title="Chapter 11. SuperCollider" /><link rel="prev" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html" title="11.3.4. Other Tips for Using GEdit with SuperCollider" /><link rel="next" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html" title="11.4.2. Variables and Functions" /></head><body class="draft toc_embeded "><div id="tocdiv" clas
s="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions.html"><strong>Next</strong></a></li></ul><div xml:lang="en-US" class="section" title="11.4. Basic Programming in SuperCollider" id="sect-Musicians_Guide-SuperCollider-Basic_Programming" lang="en-US"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Mus
icians_Guide-SuperCollider-Basic_Programming">11.4. Basic Programming in <span class="application"><strong>SuperCollider</strong></span></h2></div></div></div><div class="para">
+ As with any programming language, you will start learning <span class="application"><strong>SuperCollider</strong></span> with the basic commands, that are of little use by themselves. However, since the language is so flexible, even the most basic commands can be combined in ways that create highly complex behaviours. The example program, "Method One," was written with the goal of illustrating how a single sound-generating object can be used to create an entire composition. This tutorial does not begin with audio-generating code, which helps to emphasize that <span class="application"><strong>SuperCollider</strong></span> is primarily a programming language.
</div><div class="para">
- This portion of the Guide is designed as a "reference textbook," which you can use both to learn the SuperCollider language in the first place, and to remind yourself about the language's features afterwards.
+ This portion of the Guide is designed as a "reference textbook," which you can use both to learn the <span class="application"><strong>SuperCollider</strong></span> language in the first place, and to remind yourself about the language's features afterwards.
</div><div class="para">
- The Guide will probably be most effective when read only in small portions at once.
- </div><div class="section" title="11.4.1. First Steps" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</h3></div></div></div><div class="section" title="11.4.1.1. The Different Parts of SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider">11.4.1.1. The Different Parts of SuperCollider</h4></div></div></div><div class="para">
- As you discovered when installing SuperCollider, there are actually many different components involved with SuperCollider. Here is a list of some of them, with brief descriptions of their purpose:
+ The section is most effective when read in small portions.
+ </div><div class="section" title="11.4.1. First Steps" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps">11.4.1. First Steps</h3></div></div></div><div class="section" title="11.4.1.1. The Different Parts of SuperCollider" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Parts_of_SuperCollider">11.4.1.1. The Different Parts of <span class="application"><strong>SuperCollider</strong></span></h4></div></div></div><div class="para">
+ As you discovered when installing <span class="application"><strong>SuperCollider</strong></span>, there are actually many different components involved with <span class="application"><strong>SuperCollider</strong></span>. Here is a list of some of them, with brief descriptions of their purpose:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
Programming language: this is an abstract set of rules and guidelines that allow you to write down instructions for producing sounds.
</div></li><li class="listitem"><div class="para">
- Interpreter: this is what is run in GEdit; it transforms the "programming language" instructions written by you into useful instructions for the server; also called the "client."
+ Interpreter: this is what is run in <span class="application"><strong>GEdit</strong></span>; it transforms the programming language instructions written by you into useful instructions for the server; also called the "client."
</div></li><li class="listitem"><div class="para">
Server: this is what synthesizes the sound, according to instructions sent to it by the interpreter.
</div></li><li class="listitem"><div class="para">
@@ -21,23 +21,32 @@
</div><div class="para">
This modular design allows for several advanced capabilities and features. Any particular element could theoretically be replaced without affecting other elements, as long as the methods of communication remain the same. As long as the programming language is the same, portions of the library can be modified, removed, or added at will; this happens often, and Planet CCRMA at Home provides a collection of library extensions. One of the most exciting capabilities is the ability to run the interpreter and server on different physical computers. The networking component is built into these components - they always communicate by UDP or TCP, even when run on the same computer! Although this ability is not used in this Guide, it is not difficult.
</div><div class="para">
- The most important thing to remember is that the SuperCollider interpreter is what deals with the programs you write. The SuperCollider server is controlled by the interpreter, but is an independent program. For simple things, like the Hello World Programs below, the server is not even used - after all, there is no audio for it to synthesize.
+ The most important thing to remember is that the <span class="application"><strong>SuperCollider</strong></span> interpreter is what deals with the programs you write. The <span class="application"><strong>SuperCollider</strong></span> server is controlled by the interpreter, but is an independent program. For simple things, like the Hello World Programs below, the server is not even used - after all, there is no audio for it to synthesize.
</div></div><div class="section" title="11.4.1.2. "Hello, World!"" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Hello_World">11.4.1.2. "Hello, World!"</h4></div></div></div><div class="para">
- The first program that one traditionally makes when learning a new programming language is called "The Hello World Program." This is a simple and trivial application that simply prints outs the phrase, "Hello, World!" (or any variation of it). It might seem useless at first, but the ability to provide feedback to an application's user is very important, and this is essentially what the Hello World Program does.
+ The first program that one traditionally makes when learning a new programming language is called "The Hello World Program." This is a simple and trivial application that simply prints outs the phrase, <code class="literal">Hello, World!</code> (or a variation of it). It might seem useless at first, but the ability to provide feedback to an application's user is very important, and this is essentially what the Hello World Program does.
</div><div class="para">
- Here is the program in SuperCollider: [pre] "Hello, World!".postln; [/pre]
+ Here is the program in <span class="application"><strong>SuperCollider</strong></span>:
+<pre class="programlisting">
+"Hello, World!".postln;
+</pre>
+
</div><div class="para">
- Here is an extension to that program: [pre] "Hello, World!".postln; "Hello, SC!".postln; [/pre]
+ Here is an extension to that program:
+<pre class="programlisting">
+"Hello, World!".postln;
+"Hello, SC!".postln;
+</pre>
+
</div><div class="para">
- As with all examples in this Guide, you should paste these programs into GEdit, and execute them with SuperCollider. Look at the output produced by the programs, but don't worry about it for now.
+ As with all examples in this section, you should paste these programs into <span class="application"><strong>GEdit</strong></span>, and execute them with <span class="application"><strong>SuperCollider</strong></span>. Look at the output produced by the programs, but don't worry about it for now.
</div><div class="para">
- These programs are very small, but it highlights some key concepts of the SuperCollider language, described below.
+ These programs are very small, but it highlights some key concepts of the <span class="application"><strong>SuperCollider</strong></span> language, described below.
</div></div><div class="section" title="11.4.1.3. Return Values" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Return_Values">11.4.1.3. Return Values</h4></div></div></div><div class="para">
- Every SuperCollider program must provide the interpreter with a value (some information) when it has carried out all of its instructions. This value is called a "return value," because it is the value given by a program when it "returns" control to the interpreter. In a SuperCollider program, it is the last value stated in a program that automatically becomes the return value - no special command is required. When program execution ends, and control is returned to the SuperCollider interpreter, the interpreter outputs the return value in the "SuperCollider output" pane.
+ Every <span class="application"><strong>SuperCollider</strong></span> program must provide the interpreter with a value (some information) when it has carried out all of its instructions. This value is called a "return value," because it is the value given by a program when it "returns" control to the interpreter. In a <span class="application"><strong>SuperCollider</strong></span> program, it is the last value stated in a program that automatically becomes the return value - no special command is required. When program execution ends, and control is returned to the <span class="application"><strong>SuperCollider</strong></span> interpreter, the interpreter outputs the return value in the "SuperCollider output" pane.
</div><div class="para">
- In the single-line Hello World Program above, the program produces the following output: [pre]Hello, World! Hello, World![/pre] The program appears to have been executed twice, but that is not the case. The first "Hello, World!" is printed by the program. The second "Hello, World!" appears because <code class="code">"Hello, World!.postln</code> is the last (in this case, the only) value of the program. It is "returned" by the program, and the interpreter prints it.
+ In the single-line Hello World Program above, the program produces the following output: <code class="computeroutput"> Hello, World! Hello, World! </code> The program appears to have been executed twice, but that is not the case. The first <code class="literal">Hello, World!</code> is printed by the program. The second <code class="literal">Hello, World!</code> appears because <code class="code">"Hello, World!.postln</code> is the last (in this case, the only) value of the program. It is "returned" by the program, and the interpreter prints it.
</div><div class="para">
- In the two-line Hello World Program above, the program produces the following output: [pre] Hello, World! Hello, SC! Hello, SC! [/pre] This makes it more clear that the program is not being executed twice, and that it is the last value of a program that is returned to the interpreter.
+ In the two-line Hello World Program above, the program produces the following output: <code class="computeroutput"> Hello, World! Hello, SC! Hello, SC! </code> This makes it more clear that the program is not being executed twice, and that it is the last value of a program that is returned to the interpreter.
</div><div class="para">
Try executing the following single-line programs. Look at the output produced by each, and determine whether it is printed by the program itself, the interpreter, or both.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
@@ -51,17 +60,17 @@
</div></li></ul></div>
Can you modify the two-line Hello World Program so that each line is printed only once?
</div><div class="para">
- Note: In reality, every "function" must return a value. Functions are described later in this Guide; the difference is not yet important.
+ In reality, every "function" must return a value. Functions are described in <a class="xref" href="sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions.html" title="11.4.2.3. Functions">Section 11.4.2.3, “Functionsâ€</a>, but the difference is not yet important.
</div></div><div class="section" title="11.4.1.4. Statements" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Statements">11.4.1.4. Statements</h4></div></div></div><div class="para">
- A "statement" is a single instruction, which is always ended with a semicolon. Exactly what constitutes a statement will become clear as you gain experience, and including semicolons will quickly become an automatic action.
+ A "statement" is a single instruction, which always ends with a semicolon. Exactly what constitutes a statement will become clear as you gain experience, and you will eventually automatically remember the semicolon.
</div><div class="para">
- In the Hello World Programs above, all of the statements contain the single instruction to post a line to the output screen. What happens when you remove the first semicolon, which marks the end of the first statement? The SuperCollider interpreter produces an unhelpful error message, and tells you that an error occurred ''after'' the forgotten semicolon. This is why it is important to always remember statement-concluding semicolons.
+ In the Hello World Programs above, all of the statements contain the single instruction to post a line to the output screen. What happens when you remove the first semicolon, which marks the end of the first statement? The <span class="application"><strong>SuperCollider</strong></span> interpreter produces an unhelpful error message, and tells you that an error occurred ''after'' the forgotten semicolon. This is why it is important to always remember statement-concluding semicolons.
</div></div><div class="section" title="11.4.1.5. Data Types: Numbers and Strings" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Numbers_and_Strings">11.4.1.5. Data Types: Numbers and Strings</h4></div></div></div><div class="para">
- In many programming languages, it is the programmer's responsibility to determine the type of data that is being used, and how it should be stored. The SuperCollider interpreter takes advantage of the power of modern computers, and deals with this on our behalf. This greatly simplifies basic tasks, because there are only two kinds of data to worry about, and they make perfect sense:
+ In many programming languages, it is the programmer's responsibility to determine the type of data that is being used, and how it should be stored. The <span class="application"><strong>SuperCollider</strong></span> interpreter takes advantage of the power of modern computers, and deals with this on our behalf. This greatly simplifies basic tasks, because there are only two kinds of data to worry about, and they make perfect sense:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- Numbers: These are numbers, written simply as numbers. Anything that can be done with real-world numbers can also be done with SuperCollider's numbers. They can be as large or small, positive or negative as you want. They can have any number of digits on either side of the decimal point.
+ Numbers: These are numbers, written simply as numbers. Anything that can be done with real-world numbers can also be done with <span class="application"><strong>SuperCollider</strong></span>'s numbers. They can be as large or small, positive or negative as you want. They can have any number of digits on either side of the decimal point.
</div></li><li class="listitem"><div class="para">
- Strings: These are a string of characters, written between two double-quote characters like "this." The double-quote characters are required so that SuperCollider knows where to begin and end the string of characters. A string of character can contain as many characters as you like, including one character and no characters. If you want to include a double-quote character in a string, you should put a blackslash before it. The following is interpreted by SuperCollider as a string with only a double-quote character: <code class="code">"\""</code>
+ Strings: These are a string of characters, written between two double-quote characters like "this." The double-quote characters are required so that <span class="application"><strong>SuperCollider</strong></span> knows where to begin and end the string of characters. A string of character can contain as many characters as you like, including one character and no characters. If you want to include a double-quote character in a string, you should put a blackslash before it. The following is interpreted by <span class="application"><strong>SuperCollider</strong></span> as a string with only a double-quote character: <code class="code">"\""</code>
</div></li></ul></div>
</div><div class="para">
@@ -83,9 +92,9 @@
</div></li></ul></div>
</div><div class="para">
- Is the last example a number or a string? You and I recognize that it is a number inside a string, but SuperCollider will only treat it as a string. You can do string things with it, but you cannot do number things with it. You cannot add <code class="code">"6"</code> to something, for example. Notice also that each example ends with a semicolon, which makes them complete statements. The statements don't do anything but represent themselves.
+ Is the last example a number or a string? You and I recognize that it is a number inside a string, but <span class="application"><strong>SuperCollider</strong></span> will only treat it as a string. You can do string things with it, but you cannot do number things with it. You cannot add <code class="code">"6"</code> to something, for example. Notice also that each example ends with a semicolon, which makes them complete statements. The statements don't do anything but represent themselves.
</div><div class="para">
- Try executing the following single-line programs. Think about why the SuperCollider interpreter produces the output that it does.
+ Try executing the following single-line programs. Think about why the <span class="application"><strong>SuperCollider</strong></span> interpreter produces the output that it does.
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
<code class="code">6 + 3;</code>
</div></li><li class="listitem"><div class="para">
@@ -95,7 +104,18 @@
</div></li></ul></div>
</div></div><div class="section" title="11.4.1.6. Consecutive Execution" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution"><div class="titlepage"><div><div keep-together.within-column="always"><h4 class="title" id="sect-Musicians_Guide-SC-Basic_Programming-First_Steps-Consecutive_Execution">11.4.1.6. Consecutive Execution</h4></div></div></div><div class="para">
- Complex SuperCollider programs contain many parts, which all do different things. Sometimes, executing all of these together doesn't make sense, and it can be difficult to know which portions of the program are supposed to be executed when. To help with this, the interpreter allows you to mark portions of your program between ( and ) so that you will know to execute them together.
+ Complex <span class="application"><strong>SuperCollider</strong></span> programs contain many parts, which all do different things. Sometimes, executing all of these together doesn't make sense, and it can be difficult to know which portions of the program are supposed to be executed when. To help with this, the interpreter allows you to mark portions of your program between ( and ) so that you will know to execute them together.
</div><div class="para">
- Here is an example: [pre] ( "Hello, Fred!".postln; "Hello, Wilma!".postln; ) ( "Goodbye, Fred!".postln; "Goodbye, Wilma!".postln; ) [/pre] It doesn't make sense to say "hello" and "goodbye" at the same time, so separating these sections with parentheses will serve as a reminder. In case we try to execute all of the code at once, the SuperCollider interpreter will give us an error.
+ Here is an example:
+<pre class="programlisting">
+(
+ "Hello, Fred!".postln;
+ "Hello, Wilma!".postln;
+)
+(
+ "Goodbye, Fred!".postln;
+ "Goodbye, Wilma!".postln;
+)
+</pre>
+ It doesn't make sense to say "hello" and "goodbye" at the same time, so separating these sections with parentheses will serve as a reminder. In case we try to execute all of the code at once, the <span class="application"><strong>SuperCollider</strong></span> interpreter will give us an error.
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diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_Info_Pane.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_Info_Pane.html
index 933be7f..8abb952 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_Info_Pane.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_Info_Pane.html
@@ -1,6 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.4.3. "Track Info" Pane</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="prev" href="sect-Musicians_Guide-DAW_Clock.html" title="6.4.2. Clock" /><link rel="next" href="sect-Musicians_Guide-Track_Pane.html" title="6.4.4. "Track" Pane" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your
browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-DAW_Clock.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Track_Pane.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4.3. "Track Info" Pane" id="sect-Musicians_Guide-Track_Info_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-track_info.png" width="444" /></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.4.3. "Track Info" Pane</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="prev" href="sect-Musicians_Guide-DAW_Clock.html" title="6.4.2. Clock" /><link rel="next" href="sect-Musicians_Guide-Track_Pane.html" title="6.4.4. "Track" Pane" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your
browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-DAW_Clock.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Track_Pane.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4.3. "Track Info" Pane" id="sect-Musicians_Guide-Track_Info_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_Info_Pane">6.4.3. "Track Info" Pane</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-track_info.png" width="444" /></span>
+
+ </div><div class="para">
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.
</div><div class="para">
The information provided, and the layout of buttons, can change dramatically between DAWs, but they all offer the same basic functionality. Often, right-clicking on a track info box will give access to extended configuration options. Left-clicking on a portion of the track info box that is not a button allows you to select a track without selecting a particular moment in "track" pane.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_Pane.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_Pane.html
index 36d5797..2b38f24 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_Pane.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Track_Pane.html
@@ -1,6 +1,9 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.4.4. "Track" Pane</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="prev" href="sect-Musicians_Guide-Track_Info_Pane.html" title="6.4.3. "Track Info" Pane" /><link rel="next" href="sect-Musicians_Guide-DAW_Transport_Controls.html" title="6.4.5. Transport Controls" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an
iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Track_Info_Pane.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-DAW_Transport_Controls.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4.4. "Track" Pane" id="sect-Musicians_Guide-Track_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</h3></div></div></div><div class="mediaobject"><img src="./images/Qtractor-interface-track.png" width="444" /></div><div class="
para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>6.4.4. "Track" Pane</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="sect-Musicians_Guide-DAW_User_Interface.html" title="6.4. User Interface" /><link rel="prev" href="sect-Musicians_Guide-Track_Info_Pane.html" title="6.4.3. "Track Info" Pane" /><link rel="next" href="sect-Musicians_Guide-DAW_Transport_Controls.html" title="6.4.5. Transport Controls" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an
iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Track_Info_Pane.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-DAW_Transport_Controls.html"><strong>Next</strong></a></li></ul><div class="section" title="6.4.4. "Track" Pane" id="sect-Musicians_Guide-Track_Pane"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Track_Pane">6.4.4. "Track" Pane</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/Qtractor-interface-track.png" width="444" /></span>
+
+ </div><div class="para">
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.
</div><div class="para">
Scrolling the "track" pane horizontally allows you to view the regions throughout the session. The left-most point is the start of the session; the right-most point is after the end of the session. Most DAWs allow you to scroll well beyond the end of the session. Scrolling vertically in the "track" pane allows you to view the regions and tracks in a particular time range.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_JACK.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_JACK.html
index e0bc3ae..aadbc9c 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_JACK.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_JACK.html
@@ -4,7 +4,7 @@
<div class="orderedlist"><ol><li class="listitem"><div class="para">
Ensure that you have installed the Planet CCRMA at Home repositories. For instructions, refer to <a class="xref" href="sect-Musicians_Guide-Using_Planet_CCRMA_Software.html#sect-Musicians_Guide-CCRMA_Installing_Repository" title="4.3.1. Installing the Planet CCRMA at Home Repositories">Section 4.3.1, “Installing the Planet CCRMA at Home Repositoriesâ€</a>.
</div></li><li class="listitem"><div class="para">
- Use PackageKit or KPackageKit to install the "jack-audio-connection-kit" and "qjackctl" packages, or run the following command in a terminal: [pre]sudo -c 'yum install jack-audio-connection-kit qjackctl'[/pre]
+ Use <span class="application"><strong>PackageKit</strong></span> or <span class="application"><strong>KPackageKit</strong></span> to install the <span class="package">jack-audio-connection-kit</span> and <span class="package">qjackctl</span> packages.
</div></li><li class="listitem"><div class="para">
Review and approve the installation, making sure that it completes correctly.
</div></li><li class="listitem"><div class="para">
@@ -26,11 +26,17 @@
</div></li><li class="listitem"><div class="para">
The default installation automatically enables real-time priority to be requested by any user or process. This is undesirable, so we will edit it.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Open a terminal, and run the following command: [pre]sudo -c 'gedit /etc/security/limits.conf'[/pre]
+ Open a terminal, and run the following command: <code class="command">sudo -c 'gedit /etc/security/limits.conf'</code>
</div></li><li class="listitem"><div class="para">
Be careful! You're editing this important system file as the root user!
</div></li><li class="listitem"><div class="para">
- Edit the last lines, so that they read:[pre] @audio - rtprio 99 @audio - memlock 4194304 @audio - nice -10[/pre]
+ Edit the last lines, so that they read:
+<pre class="programlisting">
+ at audio - rtprio 99
+ at audio - memlock 4194304
+ at audio - nice -10
+</pre>
+
</div></li></ol></div>
</div></li></ol></div>
@@ -41,7 +47,14 @@
</div></li><li class="step" title="Step 2"><div class="para">
Execute this command: "cat /proc/asound/cards".
</div></li><li class="step" title="Step 3"><div class="para">
- The <code class="code">cat</code> program outputs a list of sound cards in your computer, which looks similar to this list: [pre] 0 [SB ]: HDA-Intel - HDA ATI SB HDA ATI SB at 0xf7ff4000 irq 16 1 [MobilePre ]: USB-Audio - MobilePre M Audio MobilePre at usb-0000:00:13.0-2 [/pre] In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <code class="code">SB</code> and <code class="code">MobilePre</code>.
+ The <code class="code">cat</code> program outputs a list of sound cards in your computer, which looks similar to this list:
+<pre class="programlisting">
+0 [SB ]: HDA-Intel - HDA ATI SB
+ HDA ATI SB at 0xf7ff4000 irq 16
+1 [MobilePre ]: USB-Audio - MobilePre
+ M Audio MobilePre at usb-0000:00:13.0-2
+</pre>
+ In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <code class="code">SB</code> and <code class="code">MobilePre</code>.
</div></li><li class="step" title="Step 4"><div class="para">
Identify the name of the sound card that you want to use. If you do not see your sound card in the list outputted by <code class="code">cat</code>, then your Fedora does not detect it.
</div></li><li class="step" title="Step 5"><div class="para">
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_Planet_CCRMA_Software.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_Planet_CCRMA_Software.html
index 0037c0b..ae6444b 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_Planet_CCRMA_Software.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Using_Planet_CCRMA_Software.html
@@ -1,15 +1,15 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>4.3. Using Software from Planet CCRMA at Home</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html" title="Chapter 4. Planet CCRMA at Home" /><link rel="prev" href="sect-Musicians_Guide-CCRMA_Best_Practices.html" title="4.2.3. A Possible "Best Practices" Solution" /><link rel="next" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html" title="4.3.2. Setting Repository Priorities" /></head><body class="draft toc_embeded "><div id="tocdiv" cla
ss="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Best_Practices.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html"><strong>Next</strong></a></li></ul><div class="section" title="4.3. Using Software from Planet CCRMA at Home" id="sect-Musicians_Guide-Using_Planet_CCRMA_Software"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Us
ing Software from Planet CCRMA at Home</h2></div></div></div><div class="para">
- The Planet CCRMA at Home software is hosted (stored) on a server at Stanford University. It is separate from the Fedora Linux servers, so yum (the command-line utility used by PackageKit and KPackageKit) must be made aware that you wish to use it. After installing the repository, Planet CCRMA at Home software can be installed through yum, PackageKit, or KPackageKit just as easily as any other software.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>4.3. Using Software from Planet CCRMA at Home</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Planet_CCRMA_at_Home.html" title="Chapter 4. Planet CCRMA at Home" /><link rel="prev" href="sect-Musicians_Guide-CCRMA_Best_Practices.html" title="4.2.3. A Possible "Best Practices" Solution" /><link rel="next" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html" title="4.3.2. Set Repository Priorities" /></head><body class="draft toc_embeded "><div id="tocdiv" class="
toc"><iframe id="tocframe" class="toc" src="../../../../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Best_Practices.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html"><strong>Next</strong></a></li></ul><div class="section" title="4.3. Using Software from Planet CCRMA at Home" id="sect-Musicians_Guide-Using_Planet_CCRMA_Software"><div class="titlepage"><div><div keep-together.within-column="always"><h2 class="title" id="sect-Musicians_Guide-Using_Planet_CCRMA_Software">4.3. Using
Software from Planet CCRMA at Home</h2></div></div></div><div class="para">
+ The Planet CCRMA at Home software is hosted (stored) on a server at Stanford University. It is separate from the Fedora Linux servers, so <code class="command">yum</code> (the command line utility used by PackageKit and KPackageKit) must be made aware that you wish to use it. After installing the repository, Planet CCRMA at Home software can be installed through yum, PackageKit, or KPackageKit just as easily as any other software.
</div><div class="section" title="4.3.1. Installing the Planet CCRMA at Home Repositories" id="sect-Musicians_Guide-CCRMA_Installing_Repository"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-CCRMA_Installing_Repository">4.3.1. Installing the Planet CCRMA at Home Repositories</h3></div></div></div><div class="para">
The following steps will install the Planet CCRMA at Home repository, intended only for Fedora Linux-based computers.
<div class="orderedlist"><ol><li class="listitem"><div class="para">
- Update your computer with PackageKit, KPackageKit, or by running <code class="code">su -c 'yum update'</code> and approving the installation.
+ Update your computer with PackageKit, KPackageKit.
</div></li><li class="listitem"><div class="para">
You will have to use a terminal window for the next portion.
</div></li><li class="listitem"><div class="para">
- Run the following commands: <code class="code">su -c 'rpm -Uvh http://ccrma.stanford.edu/planetccrma/mirror/fedora/linux/planetccrma/12/i386/planetccrma-repo-1.1-2.fc12.ccrma.noarch.rpm'</code> ADMONITION that this will work for Fedora 12, 13, and 14 and 32-bit and 64-bit
+ Run the following commands: <code class="command">su -c 'rpm -Uvh http://ccrma.stanford.edu/planetccrma/mirror/fedora/linux/planetccrma/12/i386/planetccrma-repo-1.1-2.fc12.ccrma.noarch.rpm'</code> This works for Fedora 12, 13, and 14 and 32-bit and 64-bit
</div></li><li class="listitem"><div class="para">
Update your computer again.
</div></li><li class="listitem"><div class="para">
@@ -21,13 +21,13 @@
</div></li></ol></div>
</div><div class="para">
- Although it is necessary to use the "rpm" program directly, all other Planet CCRMA software can be installed through "yum", like all other applications. Here is an explanation of the command-line options used above:
+ Although it is necessary to use the <code class="command">rpm</code> program directly, all other Planet CCRMA software can be installed through <code class="command">yum</code>, like all other applications. Here is an explanation of the command-line options used above:
<div class="itemizedlist"><ul><li class="listitem"><div class="para">
- -U means "upgrade," which will install the specified package, and remove any previously-installed version
+ <code class="literal">-U</code> means "upgrade," which will install the specified package, and remove any previously-installed version
</div></li><li class="listitem"><div class="para">
- -v means "verbose," which will print additional information meessages
+ <code class="literal">-v</code> means "verbose," which will print additional information meessages
</div></li><li class="listitem"><div class="para">
- -h means "hash," which will display hash marks (these: #) showing the progress of installation.
+ <code class="literal">-h</code> means "hash," which will display hash marks (these: <code class="literal">#</code>) showing the progress of installation.
</div></li></ul></div>
- </div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Best_Practices.html"><strong>Prev</strong>4.2.3. A Possible "Best Practices" Solution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html"><strong>Next</strong>4.3.2. Setting Repository Priorities</a></li></ul></body></html>
+ </div></div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-CCRMA_Best_Practices.html"><strong>Prev</strong>4.2.3. A Possible "Best Practices" Solution</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-CCRMA_Repository_Priorities.html"><strong>Next</strong>4.3.2. Set Repository Priorities</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Bus.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Bus.html
index 893d328..d91e2c1 100644
--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Bus.html
+++ b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Bus.html
@@ -1,6 +1,10 @@
<?xml version="1.0" encoding="UTF-8" standalone="no"?>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>1.4.2. Busses, Master Bus, and Sub-Master Bus</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Vocabulary.html" title="1.4. Other Digital Audio Concepts" /><link rel="prev" href="chap-Musicians_Guide-Vocabulary.html" title="1.4. Other Digital Audio Concepts" /><link rel="next" href="sect-Musicians_Guide-Vocabulary-Level.html" title="1.4.3. Level (Volume/Loudness)" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../..
/../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Vocabulary.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Vocabulary-Level.html"><strong>Next</strong></a></li></ul><div class="section" title="1.4.2. Busses, Master Bus, and Sub-Master Bus" id="sect-Musicians_Guide-Vocabulary-Bus"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</h3></div></div></div><div class="mediaobject"><img src="./image
s/FMG-bus.png" width="444" /></div><div class="mediaobject"><img src="./images/FMG-master_sub_bus.png" width="444" /></div><div class="para">
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>1.4.2. Busses, Master Bus, and Sub-Master Bus</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Vocabulary.html" title="1.4. Other Digital Audio Concepts" /><link rel="prev" href="chap-Musicians_Guide-Vocabulary.html" title="1.4. Other Digital Audio Concepts" /><link rel="next" href="sect-Musicians_Guide-Vocabulary-Level.html" title="1.4.3. Level (Volume/Loudness)" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../..
/../toc.html">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="chap-Musicians_Guide-Vocabulary.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Vocabulary-Level.html"><strong>Next</strong></a></li></ul><div class="section" title="1.4.2. Busses, Master Bus, and Sub-Master Bus" id="sect-Musicians_Guide-Vocabulary-Bus"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Bus">1.4.2. Busses, Master Bus, and Sub-Master Bus</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/FMG-bus.png" width="444" /></span>
+ <span class="inlinemediaobject"><img src="./images/FMG-master_sub_bus.png" width="444" /></span>
+
+ </div><div class="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.
</div><div class="para">
All audio routed out of a program passes through the master bus. The '''master bus''' combines all audio tracks, allowing for final level adjustments and simpler mastering. The primary purpose of the master bus is to mix all of the tracks into two channels.
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html b/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html
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--- a/public_html/en-US/Fedora_Draft_Documentation/0.1/html/Musicians_Guide/sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing.html
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-<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>1.4.7. Routing and Multiplexing</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Vocabulary.html" title="1.4. Other Digital Audio Concepts" /><link rel="prev" href="sect-Musicians_Guide-Vocabulary-Synchronization.html" title="1.4.6. Synchronization" /><link rel="next" href="sect-Musicians_Guide-Multichannel_Audio.html" title="1.4.8. Multichannel Audio" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html
">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Synchronization.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Multichannel_Audio.html"><strong>Next</strong></a></li></ul><div class="section" title="1.4.7. Routing and Multiplexing" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</h3></div></div></div><div class="mediaobjec
t"><img src="./images/FMG-routing_and_multiplexing.png" width="444" /></div><div class="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.
+<html xmlns="http://www.w3.org/1999/xhtml"><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /><title>1.4.7. Routing and Multiplexing</title><link rel="stylesheet" href="Common_Content/css/default.css" type="text/css" /><link rel="stylesheet" media="print" href="Common_Content/css/print.css" type="text/css" /><meta name="generator" content="publican 2.1" /><meta name="package" content="Fedora_Draft_Documentation-Musicians_Guide-0.1-en-US-14.0.1-0" /><link rel="home" href="index.html" title="Musicians' Guide" /><link rel="up" href="chap-Musicians_Guide-Vocabulary.html" title="1.4. Other Digital Audio Concepts" /><link rel="prev" href="sect-Musicians_Guide-Vocabulary-Synchronization.html" title="1.4.6. Synchronization" /><link rel="next" href="sect-Musicians_Guide-Multichannel_Audio.html" title="1.4.8. Multichannel Audio" /></head><body class="draft toc_embeded "><div id="tocdiv" class="toc"><iframe id="tocframe" class="toc" src="../../../../toc.html
">This is an iframe, to view it upgrade your browser or enable iframe display.</iframe></div><p id="title"><a class="left" href="http://www.fedoraproject.org"><img src="Common_Content/images/image_left.png" alt="Product Site" /></a><a class="right" href="http://docs.fedoraproject.org"><img src="Common_Content/images/image_right.png" alt="Documentation Site" /></a></p><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Synchronization.html"><strong>Prev</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Multichannel_Audio.html"><strong>Next</strong></a></li></ul><div class="section" title="1.4.7. Routing and Multiplexing" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing"><div class="titlepage"><div><div keep-together.within-column="always"><h3 class="title" id="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing">1.4.7. Routing and Multiplexing</h3></div></div></div><div class="para">
+ <span class="inlinemediaobject"><img src="./images/FMG-routing_and_multiplexing.png" width="444" /></span>
+ '''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.
</div><div class="para">
'''Multiplexing''' allows you to connect multiple devices and applications to a single input or output. QjackCtl allows you to easily perform multiplexing. This may not seem important, but remember that only one connection is possible with a physical device like an audio interface. Before computers were used for music production, multiplexing required physical devices to split or combine the signals.
</div></div><ul class="docnav"><li class="previous"><a accesskey="p" href="sect-Musicians_Guide-Vocabulary-Synchronization.html"><strong>Prev</strong>1.4.6. Synchronization</a></li><li class="up"><a accesskey="u" href="#"><strong>Up</strong></a></li><li class="home"><a accesskey="h" href="index.html"><strong>Home</strong></a></li><li class="next"><a accesskey="n" href="sect-Musicians_Guide-Multichannel_Audio.html"><strong>Next</strong>1.4.8. Multichannel Audio</a></li></ul></body></html>
diff --git a/public_html/en-US/Fedora_Draft_Documentation/0.1/pdf/Musicians_Guide/Fedora_Draft_Documentation-0.1-Musicians_Guide-en-US.pdf b/public_html/en-US/Fedora_Draft_Documentation/0.1/pdf/Musicians_Guide/Fedora_Draft_Documentation-0.1-Musicians_Guide-en-US.pdf
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diff --git a/public_html/en-US/toc.html b/public_html/en-US/toc.html
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<a class="type" href="./Fedora/13/html-single/Accessibility_Guide/index.html" onclick="window.top.location='./Fedora/13/html-single/Accessibility_Guide/index.html';return false;">html-single</a>
- <a class="type" href="./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
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@@ -623,7 +623,7 @@
<a class="type" href="./Fedora/11/html-single/Security_Guide/index.html" onclick="window.top.location='./Fedora/11/html-single/Security_Guide/index.html';return false;">html-single</a>
- <a class="type" href="./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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@@ -797,7 +797,7 @@
<a class="type" href="./Fedora/8/html-single/Installation_Guide/index.html" onclick="window.top.location='./Fedora/8/html-single/Installation_Guide/index.html';return false;">html-single</a>
- <a class="type" href="./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf" onclick="window.top.location='./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
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<a class="type" href="./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html" onclick="window.top.location='./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html';return false;">html-single</a>
- <a class="type" href="./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf" onclick="window.top.location='./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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index 62a16a2..5e8db8a 100644
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<a class="type" href="./Fedora/11/html-single/Security_Guide/index.html" onclick="window.top.location='./Fedora/11/html-single/Security_Guide/index.html';return false;">html-single</a>
- <a class="type" href="./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-es-ES.pdf" onclick="window.top.location='./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-es-ES.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-es-ES.pdf" onclick="window.top.location='./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-es-ES.pdf';return false;">pdf</a>
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@@ -1139,7 +1139,7 @@
<a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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index 0bea418..d1d322a 100644
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<a class="type" href="../en-US/./Fedora/13/html-single/Accessibility_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/13/html-single/Accessibility_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
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- <a class="type" href="./Fedora/12/pdf/Fedora_Live_images/Fedora-12-Fedora_Live_images-fi-FI.pdf" onclick="window.top.location='./Fedora/12/pdf/Fedora_Live_images/Fedora-12-Fedora_Live_images-fi-FI.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora/12/pdf/Fedora_Live_images/Fedora-13-Fedora_Live_Images-fi-FI.pdf" onclick="window.top.location='./Fedora/12/pdf/Fedora_Live_images/Fedora-13-Fedora_Live_Images-fi-FI.pdf';return false;">pdf</a>
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@@ -562,7 +562,7 @@
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- <a class="type" href="./Fedora/11/pdf/Fedora_Live_images/Fedora-11-Fedora_Live_images-fi-FI.pdf" onclick="window.top.location='./Fedora/11/pdf/Fedora_Live_images/Fedora-11-Fedora_Live_images-fi-FI.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora/11/pdf/Fedora_Live_images/Fedora-13-Fedora_Live_Images-fi-FI.pdf" onclick="window.top.location='./Fedora/11/pdf/Fedora_Live_images/Fedora-13-Fedora_Live_Images-fi-FI.pdf';return false;">pdf</a>
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@@ -641,7 +641,7 @@
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- <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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@@ -677,7 +677,7 @@
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- <a class="type" href="./Fedora/10/pdf/Fedora_Live_Images/Fedora-11-Fedora_Live_images-fi-FI.pdf" onclick="window.top.location='./Fedora/10/pdf/Fedora_Live_Images/Fedora-11-Fedora_Live_images-fi-FI.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora/10/pdf/Fedora_Live_Images/Fedora-13-Fedora_Live_Images-fi-FI.pdf" onclick="window.top.location='./Fedora/10/pdf/Fedora_Live_Images/Fedora-13-Fedora_Live_Images-fi-FI.pdf';return false;">pdf</a>
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@@ -866,7 +866,7 @@
<a class="type" href="../en-US/./Fedora/8/html-single/Installation_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/8/html-single/Installation_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
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- <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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@@ -201,7 +201,7 @@
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diff --git a/public_html/id-ID/toc.html b/public_html/id-ID/toc.html
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@@ -141,7 +141,7 @@
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@@ -836,7 +836,7 @@
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@@ -981,7 +981,7 @@
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diff --git a/public_html/it-IT/toc.html b/public_html/it-IT/toc.html
index 79204b7..a02ec21 100644
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@@ -641,7 +641,7 @@
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@@ -961,7 +961,7 @@
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diff --git a/public_html/ml-IN/toc.html b/public_html/ml-IN/toc.html
index 23aa7e4..15ce195 100644
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@@ -126,7 +126,7 @@
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diff --git a/public_html/mr-IN/toc.html b/public_html/mr-IN/toc.html
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@@ -126,7 +126,7 @@
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@@ -836,7 +836,7 @@
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@@ -981,7 +981,7 @@
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diff --git a/public_html/nb-NO/toc.html b/public_html/nb-NO/toc.html
index cd60236..cdeeb16 100644
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+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/nl-NL/toc.html b/public_html/nl-NL/toc.html
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--- a/public_html/nl-NL/toc.html
+++ b/public_html/nl-NL/toc.html
@@ -122,7 +122,7 @@
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+ <a class="type" href="./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-nl-NL.pdf" onclick="window.top.location='./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-nl-NL.pdf';return false;">pdf</a>
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+ <a class="type" href="./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-nl-NL.pdf" onclick="window.top.location='./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-nl-NL.pdf';return false;">pdf</a>
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+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/or-IN/toc.html b/public_html/or-IN/toc.html
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- <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
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+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
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@@ -981,7 +981,7 @@
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diff --git a/public_html/pa-IN/toc.html b/public_html/pa-IN/toc.html
index ff03bbc..bd0feba 100644
--- a/public_html/pa-IN/toc.html
+++ b/public_html/pa-IN/toc.html
@@ -126,7 +126,7 @@
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+ <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
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@@ -641,7 +641,7 @@
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+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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@@ -836,7 +836,7 @@
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+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
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@@ -981,7 +981,7 @@
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diff --git a/public_html/pl-PL/toc.html b/public_html/pl-PL/toc.html
index 0b8e824..9555394 100644
--- a/public_html/pl-PL/toc.html
+++ b/public_html/pl-PL/toc.html
@@ -641,7 +641,7 @@
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+ <a class="type" href="../en-US/./Fedora/10/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/10/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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+ <a class="type" href="../en-US/./Fedora/9/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/9/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/pt-BR/toc.html b/public_html/pt-BR/toc.html
index 1e3e707..5ec4f8d 100644
--- a/public_html/pt-BR/toc.html
+++ b/public_html/pt-BR/toc.html
@@ -126,7 +126,7 @@
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+ <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
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@@ -641,7 +641,7 @@
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+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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@@ -996,7 +996,7 @@
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+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/pt-PT/toc.html b/public_html/pt-PT/toc.html
index 2cbd28d..546d138 100644
--- a/public_html/pt-PT/toc.html
+++ b/public_html/pt-PT/toc.html
@@ -122,7 +122,7 @@
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+ <a class="type" href="./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-pt-PT.pdf" onclick="window.top.location='./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-pt-PT.pdf';return false;">pdf</a>
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@@ -641,7 +641,7 @@
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+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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@@ -996,7 +996,7 @@
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+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/ru-RU/toc.html b/public_html/ru-RU/toc.html
index 796f530..a35e2f7 100644
--- a/public_html/ru-RU/toc.html
+++ b/public_html/ru-RU/toc.html
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+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
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@@ -836,7 +836,7 @@
<a class="type" href="../en-US/./Fedora/8/html-single/Installation_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/8/html-single/Installation_Guide/index.html';return false;">html-single</a>
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+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
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@@ -981,7 +981,7 @@
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+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/sk-SK/toc.html b/public_html/sk-SK/toc.html
index d7f9df1..9b2000c 100644
--- a/public_html/sk-SK/toc.html
+++ b/public_html/sk-SK/toc.html
@@ -126,7 +126,7 @@
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+ <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
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@@ -641,7 +641,7 @@
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@@ -171,7 +171,7 @@
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+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/te-IN/toc.html b/public_html/te-IN/toc.html
index 7c60466..4992dde 100644
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@@ -126,7 +126,7 @@
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+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
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diff --git a/public_html/toc.html b/public_html/toc.html
index ba7e1b2..a818898 100644
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+ <a class="type" href="./fi-FI/Fedora/10/pdf/Fedora_Live_Images/Fedora-13-Fedora_Live_Images-fi-FI.pdf">pdf</a>
</div>
</div>
@@ -5225,7 +5225,7 @@
<a class="type" href="./nl-NL/Fedora/13/html-single/Accessibility_Guide/index.html">html-single</a>
- <a class="type" href="./nl-NL/Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-nl-NL.pdf">pdf</a>
+ <a class="type" href="./nl-NL/Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-nl-NL.pdf">pdf</a>
</div>
</div>
@@ -5651,7 +5651,7 @@
<a class="type" href="./nl-NL/Fedora/11/html-single/Security_Guide/index.html">html-single</a>
- <a class="type" href="./nl-NL/Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-nl-NL.pdf">pdf</a>
+ <a class="type" href="./nl-NL/Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-nl-NL.pdf">pdf</a>
</div>
</div>
@@ -6901,7 +6901,7 @@
<a class="type" href="./pt-PT/Fedora/13/html-single/Accessibility_Guide/index.html">html-single</a>
- <a class="type" href="./pt-PT/Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-pt-PT.pdf">pdf</a>
+ <a class="type" href="./pt-PT/Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-pt-PT.pdf">pdf</a>
</div>
</div>
@@ -8939,7 +8939,7 @@
<a class="type" href="./uk-UA/Fedora/13/html-single/Accessibility_Guide/index.html">html-single</a>
- <a class="type" href="./uk-UA/Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-uk-UA.pdf">pdf</a>
+ <a class="type" href="./uk-UA/Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-uk-UA.pdf">pdf</a>
</div>
</div>
@@ -9306,7 +9306,7 @@
<a class="type" href="./zh-CN/Fedora/13/html-single/Accessibility_Guide/index.html">html-single</a>
- <a class="type" href="./zh-CN/Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-zh-CN.pdf">pdf</a>
+ <a class="type" href="./zh-CN/Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-zh-CN.pdf">pdf</a>
</div>
</div>
diff --git a/public_html/uk-UA/toc.html b/public_html/uk-UA/toc.html
index 7aef187..0212b4b 100644
--- a/public_html/uk-UA/toc.html
+++ b/public_html/uk-UA/toc.html
@@ -122,7 +122,7 @@
<a class="type" href="./Fedora/13/html-single/Accessibility_Guide/index.html" onclick="window.top.location='./Fedora/13/html-single/Accessibility_Guide/index.html';return false;">html-single</a>
- <a class="type" href="./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-uk-UA.pdf" onclick="window.top.location='./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-uk-UA.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-uk-UA.pdf" onclick="window.top.location='./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-uk-UA.pdf';return false;">pdf</a>
</div>
</div>
@@ -641,7 +641,7 @@
<a class="type" href="../en-US/./Fedora/11/html-single/Security_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/11/html-single/Security_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
@@ -866,7 +866,7 @@
<a class="type" href="../en-US/./Fedora/8/html-single/Installation_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/8/html-single/Installation_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
@@ -981,7 +981,7 @@
<a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
diff --git a/public_html/zh-CN/toc.html b/public_html/zh-CN/toc.html
index 2d36e26..974b109 100644
--- a/public_html/zh-CN/toc.html
+++ b/public_html/zh-CN/toc.html
@@ -122,7 +122,7 @@
<a class="type" href="./Fedora/13/html-single/Accessibility_Guide/index.html" onclick="window.top.location='./Fedora/13/html-single/Accessibility_Guide/index.html';return false;">html-single</a>
- <a class="type" href="./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-zh-CN.pdf" onclick="window.top.location='./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-zh-CN.pdf';return false;">pdf</a>
+ <a class="type" href="./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-zh-CN.pdf" onclick="window.top.location='./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-zh-CN.pdf';return false;">pdf</a>
</div>
</div>
@@ -641,7 +641,7 @@
<a class="type" href="../en-US/./Fedora/11/html-single/Security_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/11/html-single/Security_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
@@ -831,7 +831,7 @@
<a class="type" href="../en-US/./Fedora/10/html-single/Security_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/10/html-single/Security_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/10/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/10/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/10/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/10/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
@@ -986,7 +986,7 @@
<a class="type" href="../en-US/./Fedora/8/html-single/Installation_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/8/html-single/Installation_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
@@ -1101,7 +1101,7 @@
<a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
diff --git a/public_html/zh-TW/toc.html b/public_html/zh-TW/toc.html
index 4e71441..ea26aef 100644
--- a/public_html/zh-TW/toc.html
+++ b/public_html/zh-TW/toc.html
@@ -126,7 +126,7 @@
<a class="type" href="../en-US/./Fedora/13/html-single/Accessibility_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/13/html-single/Accessibility_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/13/pdf/Accessibility_Guide/Fedora-13-Accessibility_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
@@ -641,7 +641,7 @@
<a class="type" href="../en-US/./Fedora/11/html-single/Security_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/11/html-single/Security_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/11/pdf/Security_Guide/Fedora-11-Security_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
@@ -836,7 +836,7 @@
<a class="type" href="../en-US/./Fedora/8/html-single/Installation_Guide/index.html" onclick="window.top.location='../en-US/./Fedora/8/html-single/Installation_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-8-Installation_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora/8/pdf/Installation_Guide/Fedora-9-Installation_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
@@ -981,7 +981,7 @@
<a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/html-single/Users_Guide/index.html';return false;">html-single</a>
- <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Fedora_Contributor_Documentation-1-Users_Guide-en-US.pdf';return false;">pdf</a>
+ <a class="type" href="../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf" onclick="window.top.location='../en-US/./Fedora_Contributor_Documentation/1/pdf/Users_Guide/Publican-1.6-Users_Guide-en-US.pdf';return false;">pdf</a>
</div>
</div>
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