[musicians-guide] Added SC tables and reviewed use of code tags
crantila
crantila at fedoraproject.org
Sun Aug 8 06:24:47 UTC 2010
commit 0e9ebaddd48d530d5a361fa38d8a02f08ebd2f34
Author: Christopher Antila <crantila at fedoraproject.org>
Date: Sun Aug 8 02:24:29 2010 -0400
Added SC tables and reviewed use of code tags
en-US/FluidSynth.xml | 98 ++++----
en-US/Frescobaldi.xml | 6 +-
en-US/LilyPond/LilyPond-orchestra.xml | 20 +-
en-US/LilyPond/LilyPond-piano.xml | 153 ++++++-----
en-US/LilyPond/LilyPond-syntax.xml | 188 +++++++-------
en-US/LilyPond/LilyPond.xml | 32 ++--
en-US/Planet_CCRMA_at_Home.xml | 2 +-
en-US/Qtractor.xml | 2 +-
en-US/Real_Time_and_Low_Latency.xml | 5 +-
en-US/Revision_History.xml | 17 +-
en-US/Rosegarden.xml | 58 ++--
en-US/Solfege.xml | 4 +-
en-US/Sound_Servers.xml | 60 ++--
.../SuperCollider-Basic_Programming.xml | 281 +++++++++++++++-----
en-US/SuperCollider/SuperCollider-Composing.xml | 14 +-
en-US/SuperCollider/SuperCollider.xml | 6 +-
16 files changed, 565 insertions(+), 381 deletions(-)
---
diff --git a/en-US/FluidSynth.xml b/en-US/FluidSynth.xml
index ef2e598..a4c19e0 100644
--- a/en-US/FluidSynth.xml
+++ b/en-US/FluidSynth.xml
@@ -7,7 +7,7 @@
<chapter id="chap-Musicians_Guide-FluidSynth">
<title>FluidSynth</title>
<para>
- FluidSynth is a software-based MIDI synthesizer. FluidSynth accepts MIDI input from programs like Qtractor and Rosegarden, and uses SoundFont technology to create audio signals. This makes FluidSynth a very flexible tool; it can be used even on low-power computers, doesn't require specialized hardware, and can take advantage of a wide selection of high-quality MIDI instruments. When used with the Qsynth graphical interface, FluidSynth becomes even more powerful: users can easily control basic effects like chorus and reverb, and they can start multiple FluidSynth synthesizers, each with their own settings and MIDI instrument assignments. Finally, because Qsynth was created and is maintained by the same developers as Qtractor and QjackCtl, it provides a familiar interface, and integrates well with these other applications.
+ <application>FluidSynth</application> is a software-based MIDI synthesizer. <application>FluidSynth</application> accepts MIDI input from programs like Qtractor and Rosegarden, and uses SoundFont technology to create audio signals. This makes <application>FluidSynth</application> a very flexible tool; it can be used even on low-power computers, doesn't require specialized hardware, and can take advantage of a wide selection of high-quality MIDI instruments. When used with the Qsynth graphical interface, <application>FluidSynth</application> becomes even more powerful: users can easily control basic effects like chorus and reverb, and they can start multiple <application>FluidSynth</application> synthesizers, each with their own settings and MIDI instrument assignments. Finally, because Qsynth was created and is maintained by the same developers as Qtractor and QjackCtl, it provides a familiar interface, and integrates well with these other applications.
</para>
<section id="sect-Musicians_Guide-FluidSynth-SoundFont_Technology_and_MIDI">
@@ -16,10 +16,10 @@
SoundFont technology was developed in the early 1990s, and comprises a file format and certain hardware technologies designed to allow the creation of MIDI instruments that sound like acoustic instruments. It would be virtually impossible to make an electronically-synthesized instrument sound identical to an acoustic counterpart, but SoundFont technology enables the gap to narrow considerably. Heard in the right context, most people would not notice that music was recorded by a SoundFont-capable MIDI synthesizer, but results can vary widely.
</para>
<para>
- What FluidSynth enables users to do is eliminate the hardware component of using SoundFonts, so that any computer becomes capable of synthesizing from SoundFont files, which are often simply referred to as "a SoundFont." As fonts change the look of text characters, SoundFonts change the sound of MIDI notes - the overall meaning is the same when conveyed by any font (or SoundFont), but the particular nuance is changed.
+ What <application>FluidSynth</application> enables users to do is eliminate the hardware component of using SoundFonts, so that any computer becomes capable of synthesizing from SoundFont files, which are often simply referred to as "a SoundFont." As fonts change the look of text characters, SoundFonts change the sound of MIDI notes - the overall meaning is the same when conveyed by any font (or SoundFont), but the particular nuance is changed.
</para>
<para>
- Fedora offers a few SoundFonts in the default repositories. By default, FluidSynth installs the FluidR3 General MIDI ("GM") SoundFont, which contains a wide array of conventional (and some non-conventional) "patches." To see the other options that are available, use PackageKit, KPackageKit, or yum to search for "soundfont".
+ Fedora offers a few SoundFonts in the default repositories. By default, <application>FluidSynth</application> installs the FluidR3 General MIDI ("GM") SoundFont, which contains a wide array of conventional (and some non-conventional) "patches." To see the other options that are available, use PackageKit, KPackageKit, or yum to search for "soundfont".
</para>
<section id="sect-Musicians_Guide-FluidSynth-How_to_Get_a_SoundFont">
<title>How to Get a SoundFont</title>
@@ -54,10 +54,10 @@
A MIDI synthesizer will accept input on multiple channels. Although each "instance" of the synthesizer can only have one MIDI instrument assigned to it, each channel can be assigned a program independently. This allows the synthesis of a virtual instrumental ensemble.
</para>
<para>
- The General MIDI ("GM") standard, used partially by the default FluidR3 SoundFont and by FluidSynth itself, further specifies that there will be 16 channels, and that channel 10 will be used for (mostly unpitched) percussion instruments. Any program change message sent to channel 10 will be ignored, and although FluidSynth can be configured to use a non-percussion program on channel 10, this use is discouraged.
+ The General MIDI ("GM") standard, used partially by the default FluidR3 SoundFont and by <application>FluidSynth</application> itself, further specifies that there will be 16 channels, and that channel 10 will be used for (mostly unpitched) percussion instruments. Any program change message sent to channel 10 will be ignored, and although <application>FluidSynth</application> can be configured to use a non-percussion program on channel 10, this use is discouraged.
</para>
<para>
- For cases where FluidSynth does not adhere to the General MIDI standard, it is adding functionality, rather than removing it.
+ For cases where <application>FluidSynth</application> does not adhere to the General MIDI standard, it is adding functionality, rather than removing it.
</para>
</section>
</section>
@@ -68,22 +68,22 @@
<section id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Software_Requirements">
<title>Software Requirements</title>
<para>
- FluidSynth requires the JACK Audio Connection Kit. If you have not already installed the JACK packages from the Planet CCRMA at Home repository, then it is recommended that you do so ''before'' installing FluidSynth. See <xref linkend="sect-Musicians_Guide-Install_and_Configure_JACK" /> for instructions.
+ <application>FluidSynth</application> requires the JACK Audio Connection Kit. If you have not already installed the JACK packages from the Planet CCRMA at Home repository, then it is recommended that you do so ''before'' installing <application>FluidSynth</application>. See <xref linkend="sect-Musicians_Guide-Install_and_Configure_JACK" /> for instructions.
</para>
</section>
<section id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation">
- <title>Thare Are Two Ways to Install FluidSynth</title>
+ <title>Thare Are Two Ways to Install <application>FluidSynth</application></title>
<para>
- There are two ways to install FluidSynth. The first, to install FluidSynth with Qsynth, allows FluidSynth to be used with the Qsynth graphical interface. It also installs a default SoundFont, which can be used by any SoundFont-aware application (like <code>timidity++</code>). This installation method does not - by default - allow FluidSynth to be used from a terminal, although this ability can be easily added later. This is the installation method recommended for most users.
+ There are two ways to install <application>FluidSynth</application>. The first, to install <application>FluidSynth</application> with Qsynth, allows <application>FluidSynth</application> to be used with the Qsynth graphical interface. It also installs a default SoundFont, which can be used by any SoundFont-aware application (like <application>timidity++</application>). This installation method does not - by default - allow <application>FluidSynth</application> to be used from a terminal, although this ability can be easily added later. This is the installation method recommended for most users.
</para>
<para>
- The second way to install FluidSynth is without the Qsynth graphical interface. This method allows FluidSynth to be run from a terminal, and does not install a default SoundFont. This installation is recommended only for advanced users.
+ The second way to install <application>FluidSynth</application> is without the Qsynth graphical interface. This method allows <application>FluidSynth</application> to be run from a terminal, and does not install a default SoundFont. This installation is recommended only for advanced users.
</para>
</section>
<section id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_with_Qsynth">
<title>Installation with Qsynth</title>
<para>
- This installation method is recommended for most users, and will install everything you need to start using FluidSynth.
+ This installation method is recommended for most users, and will install everything you need to start using <application>FluidSynth</application>.
</para>
<procedure>
<step><para>Use "PackageKit" or "KPackageKit" to install the "qsynth" package.</para></step>
@@ -95,55 +95,57 @@
</para></step>
</procedure>
<para>
- If you wish to use FluidSynth from a terminal, without the Qsynth graphical interface, you can enable this capability by installing the "fluidsynth" package. This package is not needed if you only intend to run FluidSynth with Qsynth, because Qsynth only uses files in the "fluidsynth-libs" package, which is automatically installed with Qsynth. If you are unsure of whether you should install the "fluidsynth" package, you can safely install it, even if you never use it. It only uses a small amount of hard drive space.
+ If you wish to use <application>FluidSynth</application> from a terminal, without the Qsynth graphical interface, you can enable this capability by installing the "fluidsynth" package. This package is not needed if you only intend to run <application>FluidSynth</application> with Qsynth, because Qsynth only uses files in the "fluidsynth-libs" package, which is automatically installed with Qsynth. If you are unsure of whether you should install the "fluidsynth" package, you can safely install it, even if you never use it. It only uses a small amount of hard drive space.
</para>
</section>
<section id="sect-Musicians_Guide-FluidSynth-Req_and_Inst-Installation_without_Qsynth">
<title>Installation without Qsynth</title>
<para>
- This installation method is recommended only for advanced users. You will have to use FluidSynth from a terminal. You will also have to install a SoundFont file before using FluidSynth.
- # Use PackageKit or KPackageKit to install the ''fluidsynth'' package, or use a terminal to run <code>su -c 'yum install fluidsynth'</code>
+ This installation method is recommended only for advanced users. You will have to use <application>FluidSynth</application> from a terminal. You will also have to install a SoundFont file before using <application>FluidSynth</application>.
+ </para>
+ <para>
+ Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>fluidsynth</package> package.
</para>
</section>
<section id="sect-Musicians_Guide-FluidSynth-Req_and_Inst">
<title>Installation of SoundFont Files</title>
<para>
- Qsynth automatically installs a SoundFont for use with FluidSynth, but if you did not install Qsynth, or if you want to add additional SoundFont files with additional programs, you will need to install them separately. The Fedora package repositories offer a small selection of SoundFont files, which you can find by searching for "soundfont" with PackageKit, KPackageKit, or yum. These files will automatically be installed correctly. If you wish to install additional SoundFont files, it is recommended that you install them in the same location - and with the same security settings - as the ones available from the Fedora repositories. If you do this, then you enable all users of the computer system to access the files, you will not "lose" them if you forget where they are stored, and you help to minimize the potential security risk of using software downloaded from the internet.
+ Qsynth automatically installs a SoundFont for use with <application>FluidSynth</application>, but if you did not install Qsynth, or if you want to add additional SoundFont files with additional programs, you will need to install them separately. The Fedora package repositories offer a small selection of SoundFont files, which you can find by searching for "soundfont" with PackageKit, KPackageKit, or yum. These files will automatically be installed correctly. If you wish to install additional SoundFont files, it is recommended that you install them in the same location - and with the same security settings - as the ones available from the Fedora repositories. If you do this, then you enable all users of the computer system to access the files, you will not "lose" them if you forget where they are stored, and you help to minimize the potential security risk of using software downloaded from the internet.
- The following steps will move a SoundFont file called "myFont.sf2" to the default folder (<code>/usr/share/soundfonts</code>), and correctly set the security settings. Note that you will need the system administrator's password (belonging to the "root" account) to complete this operation. If you do not have this password, it is best to ask the system administrator to install the files for you. Alternately, you may simply use the SoundFont file from your a sub-folder in your home folder.
+ The following steps will move a SoundFont file called "myFont.sf2" to the default folder (<filename>/usr/share/soundfonts</filename>), and correctly set the security settings. Note that you will need the system administrator's password (belonging to the "root" account) to complete this operation. If you do not have this password, it is best to ask the system administrator to install the files for you. Alternately, you may simply use the SoundFont file from your a sub-folder in your home folder.
</para>
<procedure>
<step><para>Start a shell or terminal and navigate to the folder where the SoundFont file is currently stored.</para></step>
- <step><para>Run <code>su -c 'cp myFont.sf2 /usr/share/soundfonts'</code></para>
- <substeps><step><para>Modify the command as necessary to copy your SoundFont file, rather than "myFont.sf2".</para></step>
- <step><para>You will be asked for the "root" password.</para></step>
+ <step><para>Run <command>su -c 'cp <replaceable>myFont.sf2</replaceable> /usr/share/soundfonts'</command></para>
+ <substeps><step><para>Modify the command as necessary to copy your SoundFont file, rather than <filename>myFont.sf2</filename>.</para></step>
+ <step><para>You will be asked for the password to the <literal>root</literal> account.</para></step>
</substeps>
</step>
- <step><para>Run <code>cd /usr/share/soundfonts</code> to change to the directory of the SoundFont</para></step>
- <step><para>Run <code>su -c 'chmod 644 myFont.sf2'</code></para>
- <substeps><step><para>Modify the command as necessary to refer to your SoundFont file, rather than "myFont.sf2".</para></step>
+ <step><para>Run <command>cd /usr/share/soundfonts</command> to change to the directory of the SoundFont</para></step>
+ <step><para>Run <command>su -c 'chmod 644 <replaceable>myFont.sf2</replaceable>'</command></para>
+ <substeps><step><para>Modify the command as necessary to refer to your SoundFont file, rather than <filename>myFont.sf2</filename>.</para></step>
<step><para>This will set the file-system permissions to "read-write" for the owner (the "root" user, in this case), and "read-only" for all other users. This way, only the system administrator should be able to change the file, but all users will be able to use it.</para></step>
</substeps>
</step>
- <step><para>Run <code>ll myFont.sf2</code> to verify that the permissions were set correctly.</para>
- <substeps><step><para>Modify the command as necessary to refer to your SoundFont file, rather than "myFont.sf2".</para></step>
- <step><para>The output should resemble this: <code>-rw-r--r--. 1 root root 9 2010-06-23 02:28 myFont.sf2</code>, but with a different date, time, and filename.</para></step>
+ <step><para>Run <command>ll <replaceable>myFont.sf2</replaceable></command> to verify that the permissions were set correctly.</para>
+ <substeps><step><para>Modify the command as necessary to refer to your SoundFont file, rather than <filename>myFont.sf2</filename>.</para></step>
+ <step><para>The output should resemble this: <programlisting><![CDATA[-rw-r--r--. 1 root root 9 2010-06-23 02:28 myFont.sf2]]></programlisting> but with a different date, time, and filename.</para></step>
</substeps></step>
- <step><para>Highly-observant users may notice that the SELinux context of the new file is different from that of any Fedora-installed SoundFont file. As long as the type is "usr_t", which it should be by default, then there is no practical difference (no difference in enforcement) between this and a Fedora-installed SoundFont file. If you don't know what this means, or if you hadn't noticed it, then it means that this additional SoundFont file should not create a new potential security problem.</para></step>
+ <step><para>Highly-observant users may notice that the SELinux context of the new file is different from that of any Fedora-installed SoundFont file. As long as the type is <literal>usr_t</literal>, which it should be by default, then there is no practical difference (no difference in enforcement) between this and a Fedora-installed SoundFont file. If you don't know what this means, or if you hadn't noticed it, then it means that this additional SoundFont file should not create a new potential security problem.</para></step>
</procedure>
</section>
- </section> <!-- Ends "Requirements and Installation" Section --> <!-- FluidSynth-Req_and_Inst- -->
+ </section> <!-- Ends "Requirements and Installation" Section --> <!-- <application>FluidSynth</application>-Req_and_Inst- -->
<section id="sect-Musicians_Guide-FluidSynth-In_a_Terminal">
- <title>Using FluidSynth in a Terminal</title>
+ <title>Using <application>FluidSynth</application> in a Terminal</title>
<para>
- This is not the recommended way to use FluidSynth, because the Qsynth graphical interface is much easier to use. Qsynth automatically configures most of FluidSynth's settings by default, allowing you to avoid focus on how you want to use FluidSynth, rather than on how to use FluidSynth.
+ This is not the recommended way to use <application>FluidSynth</application>, because the Qsynth graphical interface is much easier to use. Qsynth automatically configures most of <application>FluidSynth</application>'s settings by default, allowing you to avoid focus on how you want to use <application>FluidSynth</application>, rather than on how to use <application>FluidSynth</application>.
</para>
<para>
- If you want to use FluidSynth in a terminal, you can use the <code>fluidsynth</code> command. The default sample-rate is 44.1 kHz, so if you want to use JACK at a different sample rate, you need to use the <code>-r</code> flag, like this: <code>fluidsynth -r 48000</code>
+ If you want to use <application>FluidSynth</application> in a terminal, you can use the <command>fluidsynth</command> command. The default sample-rate is 44.1 kHz, so if you want to use JACK at a different sample rate, you need to use the <command>-r</command> flag, like this: <command>fluidsynth -r 48000</command>
</para>
<para>
- When you start FluidSynth from a terminal, it will normally start a shell of its own. How to use this shell is beyond the scope of the Musicians' Guide, but you can get basic help by running the "help" command from the FluidSynth command line.
+ When you start <application>FluidSynth</application> from a terminal, it will normally start a shell of its own. How to use this shell is beyond the scope of the Musicians' Guide, but you can get basic help by running the "help" command from the <application>FluidSynth</application> command line.
</para>
</section>
@@ -153,12 +155,12 @@
When you quit Qsynth, all settings are preserved, and re-used when Qsynth is re-started. This includes settings for additional instances of Qsynth (described below), which are also re-created when Qsynth is re-started.
</para>
<section id="sect-Musicians_Guide-FluidSynth-Configuring-Starting_FluidSynth">
- <title>Starting FluidSynth</title>
+ <title>Starting <application>FluidSynth</application></title>
<procedure>
<step><para>Start Qsynth from the Applications menu, or the K Menu</para></step>
- <step><para>The FluidSynth engine will be started automatically.</para></step>
- <step><para>The row of buttons at the right of the Qsynth window control Qsynth. The other settings control FluidSynth.</para></step>
- <step><para>You can use the "Messages" button to display a window containing FluidSynth's output. If FluidSynth doesn't work as expected, you can use this window to view any error message that might have been produced.</para></step>
+ <step><para>The <application>FluidSynth</application> engine will be started automatically.</para></step>
+ <step><para>The row of buttons at the right of the Qsynth window control Qsynth. The other settings control <application>FluidSynth</application>.</para></step>
+ <step><para>You can use the "Messages" button to display a window containing <application>FluidSynth</application>'s output. If <application>FluidSynth</application> doesn't work as expected, you can use this window to view any error message that might have been produced.</para></step>
</procedure>
</section>
<section id="sect-Musicians_Guide-FluidSynth-Configuring-SoundFont">
@@ -170,15 +172,15 @@
To configure an additional Soundfount:
</para>
<procedure>
- <step><para>Click on the 'Open' button, and navigate to the path of the SoundFont you wish to add. This should be <code>/usr/share/soundfonts</code>, if installed to the standard location specified in <xref linkend="sect-Musicians_Guide-FluidSynth-Req_and_Inst" />.</para></step>
+ <step><para>Click on the 'Open' button, and navigate to the path of the SoundFont you wish to add. This should be <filename>/usr/share/soundfonts</filename>, if installed to the standard location specified in <xref linkend="sect-Musicians_Guide-FluidSynth-Req_and_Inst" />.</para></step>
<step><para>Select the additional SoundFont, then click the 'Open' button.</para></step>
- <step><para>To change the SoundFont ID (SFID), use the 'Up' and 'Down' buttons to change the position of the SoundFonts, as desired. This does not directly change the function of FluidSynth - any SoundFont should work with any SoundFont ID number.</para></step>
+ <step><para>To change the SoundFont ID (SFID), use the 'Up' and 'Down' buttons to change the position of the SoundFonts, as desired. This does not directly change the function of <application>FluidSynth</application> - any SoundFont should work with any SoundFont ID number.</para></step>
</procedure>
</section>
<section id="sect-Musicians_Guide-FluidSynth-Configuring-JACK_Output">
<title>JACK Output Configuration</title>
<para>
- It is possible to configure FluidSynth to output synthesized audio either to JACK or to ALSA. The default, and recommended, method is to output synthesized audio to JACK. This allows the greatest control over audio quality, and the greatest flexibility in terms of routing and multiplexing (for definition see <xref linkend="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing" />), which allows you to simultaneously record the synthesized audio signal and listen to it.
+ It is possible to configure <application>FluidSynth</application> to output synthesized audio either to JACK or to ALSA. The default, and recommended, method is to output synthesized audio to JACK. This allows the greatest control over audio quality, and the greatest flexibility in terms of routing and multiplexing (for definition see <xref linkend="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing" />), which allows you to simultaneously record the synthesized audio signal and listen to it.
</para>
<para>
If you are having problems, you may wish to confirm that Qsynth is configured correctly to use JACK.
@@ -204,7 +206,7 @@
<section id="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input">
<title>MIDI Input Configuration</title>
<para>
- FluidSynth will only produce sound as instructed by a connected (software- or hardware-based) MIDI device. If you are having problems configuring FluidSynth to accept MIDI input, verify the following options.
+ <application>FluidSynth</application> will only produce sound as instructed by a connected (software- or hardware-based) MIDI device. If you are having problems configuring <application>FluidSynth</application> to accept MIDI input, verify the following options.
</para>
<procedure>
<step><para>Open Qsynth's "Setup" window.</para></step>
@@ -215,11 +217,11 @@
<listitem><para>When set to "jack", the input will appear on QjackCtl's "MIDI" tab in the "Connect" window. This is useful if the MIDI generator device that you are using, such as Rosegarden, is connected directly to JACK.</para></listitem>
</itemizedlist>
</para></step>
- <step><para>You can set the number of MIDI input channels provided by FluidSynth. Refer to <xref linkend="sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels" /> below.</para></step>
+ <step><para>You can set the number of MIDI input channels provided by <application>FluidSynth</application>. Refer to <xref linkend="sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels" /> below.</para></step>
</procedure>
</section>
<section id="sect-Musicians_Guide-FluidSynth-Configuring-Viewing_all_Settings">
- <title>Viewing all FluidSynth Settings</title>
+ <title>Viewing all <application>FluidSynth</application> Settings</title>
<procedure>
<step><para>Open the "Setup" window</para></step>
<step><para>Select the "Settings" tab</para></step>
@@ -236,7 +238,7 @@
</para>
<procedure>
<step><para>In the main Qsynth window, click "Channels" to open the "Channels" window.</para></step>
- <step><para>In the Channels window, each channel will, by default, look like <code>1 - - -</code></para></step>
+ <step><para>In the Channels window, each channel will, by default, look like <programlisting><![CDATA[1 - - -]]></programlisting></para></step>
<step><para>To assign a program to a channel, click on the row of the channel that you want to assign.</para></step>
<step><para>Select the bank and program number that you want, using the name, SFID, and Soundfont columns to guide you.</para></step>
<step><para>Repeat this process for all of the channels that you wish to assign.</para></step>
@@ -246,7 +248,7 @@
<section id="sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels">
<title>Changing the Number of MIDI Input Channels</title>
<para>
- You can increase the number of MIDI input channels offered by FluidSynth. Although QSynth will let you set any number between 1 and 256, channels will be added and removed only in sets of 16. Qsynth will automatically create the lowest number of channels that will allow as many channels as you need. Each set of 16 channels will be indicated in JACK with an additional MIDI input device. The name of the device indicates which channels are listening: channels 1 through 16 listen to the device ending in 0; channels 17 through 32 listen to the device ending in 1; channels 33 through 58 listen to the device ending in 2; and so on.
+ You can increase the number of MIDI input channels offered by <application>FluidSynth</application>. Although QSynth will let you set any number between 1 and 256, channels will be added and removed only in sets of 16. Qsynth will automatically create the lowest number of channels that will allow as many channels as you need. Each set of 16 channels will be indicated in JACK with an additional MIDI input device. The name of the device indicates which channels are listening: channels 1 through 16 listen to the device ending in 0; channels 17 through 32 listen to the device ending in 1; channels 33 through 58 listen to the device ending in 2; and so on.
</para>
<para>
To change the number of MIDI input channels, follow these instructions.
@@ -284,7 +286,7 @@
<section id="sect-Musicians_Guide-FluidSynth-Reverb_and_Chorus">
<title>Using Reverb and Chorus with Qsynth</title>
<para>
- While "reverb" (meaning "reverberation") and "chorus" effects are not part of the General MIDI standard, they are offered by most MIDI synthesizers. FluidSynth is no exception, and the Qsynth interface provides a convenient and easy way to adjust settings of the reverb and chorus effect-generators. Experimentation is the only way to know whether you have chosen the right settings, and they will probably change depending on the music you are working on, and even during a piece. Most MIDI sequencers and players (including Qtractor and Rosegarden) allow you to send MIDI messages changing the reverb and chorus settings while a session is playing.
+ While "reverb" (meaning "reverberation") and "chorus" effects are not part of the General MIDI standard, they are offered by most MIDI synthesizers. <application>FluidSynth</application> is no exception, and the Qsynth interface provides a convenient and easy way to adjust settings of the reverb and chorus effect-generators. Experimentation is the only way to know whether you have chosen the right settings, and they will probably change depending on the music you are working on, and even during a piece. Most MIDI sequencers and players (including Qtractor and Rosegarden) allow you to send MIDI messages changing the reverb and chorus settings while a session is playing.
</para>
<para>
The reverb and chorus effects can be turned off temporarily if you do not plan to use them. To do this in Qsynth, uncheck the "Active" check-box underneath the respective effect generator's settings dials.
@@ -310,15 +312,15 @@
</section>
<section id="sect-Musicians_Guide-FluidSynth-Multiple_Instances">
- <title>Multiple FluidSynth Instances with Qsynth</title>
+ <title>Multiple <application>FluidSynth</application> Instances with Qsynth</title>
<para>
- Rarely will you need more than one instance of FluidSynth, because QSynth/FluidSynth together offer up to 256 independent input channels, and the ability to control the reverb and chorus effects independently by channel. The most common use of multiple FluidSynth instances is if you want to use multiple MIDI instruments. In other words, if you want to use multiple SoundFonts at the same time, you will need to use one instance of FluidSynth for each SoundFont.
+ Rarely will you need more than one instance of <application>FluidSynth</application>, because QSynth/<application>FluidSynth</application> together offer up to 256 independent input channels, and the ability to control the reverb and chorus effects independently by channel. The most common use of multiple <application>FluidSynth</application> instances is if you want to use multiple MIDI instruments. In other words, if you want to use multiple SoundFonts at the same time, you will need to use one instance of <application>FluidSynth</application> for each SoundFont.
</para>
<para>
- Thankfully, Qsynth allows us to do this almost effortlessly! Each "instance" of FluidSynth is created and controlled by, in effect, running the FluidSynth synthesis application multiple times. The reality is that, since Qsynth controls the FluidSynth engine directly, it simply starts the synthesis engine directly, creating multiple instance of that engine. This is much more efficient than actually running Qsynth multiple time, or even than running FluidSynth directly from a terminal. Each such instance is represented in Qsynth by a "tab," displayed at the bottom of the Qsynth window.
+ Thankfully, Qsynth allows us to do this almost effortlessly! Each "instance" of <application>FluidSynth</application> is created and controlled by, in effect, running the <application>FluidSynth</application> synthesis application multiple times. The reality is that, since Qsynth controls the <application>FluidSynth</application> engine directly, it simply starts the synthesis engine directly, creating multiple instance of that engine. This is much more efficient than actually running Qsynth multiple time, or even than running <application>FluidSynth</application> directly from a terminal. Each such instance is represented in Qsynth by a "tab," displayed at the bottom of the Qsynth window.
</para>
<para>
- To create an additional instance of FluidSynth:
+ To create an additional instance of <application>FluidSynth</application>:
</para>
<procedure>
<step><para>Press the green "+" button in the bottom-left corner of Qsynth's main window</para></step>
@@ -327,7 +329,7 @@
<step><para>To close an additional instance, use the red "X" near the lower-right corner.</para></step>
</procedure>
<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.
+ Each instance of the <application>FluidSynth</application> engine has its own settings in the "Setup" window. Qsynth supports a theoretically unlimited number of <application>FluidSynth</application> instances, but your computer's memory will probably not allow many more than ten, depending on the SoundFonts used.
</para>
</section>
diff --git a/en-US/Frescobaldi.xml b/en-US/Frescobaldi.xml
index 33865b7..64fefda 100644
--- a/en-US/Frescobaldi.xml
+++ b/en-US/Frescobaldi.xml
@@ -40,8 +40,8 @@
<section id="sect-Musicians_Guide-Frescobaldi-Installation">
<title>Requirements and Installation</title>
<procedure>
- <step><para>Run <code>sudo -c 'yum install frescobaldi'</code> or install the "frescobaldi" package with PackageKit or KPackageKit.</para></step>
- <step><para>There are a lot of dependencies, including perl-* packages, subversion, kde* packages, and timidity++ including fluid-soundfont-gm (which is 114 MB)</para></step>
+ <step><para>Install the <package>frescobaldi</package> package with <application>PackageKit</application> or <application>KPackageKit</application>.</para></step>
+ <step><para>There are a lot of dependencies, including <package>perl-<replaceable>*</replaceable></package> packages, <package>kde-<replaceable>*</replaceable></package> packages, and <application>timidity++</application> including <package>fluid-soundfont-gm</package> (which is 114 MB)</para></step>
<step><para>Review and approve the list of dependencies.</para></step>
<step><para>The application can be found in the K Menu under 'Multimedia' or somewhere in the GNOME 'Applications' menu (probably under 'Multimedia'... for some reason)</para></step>
</procedure>
@@ -53,7 +53,7 @@
Changing these default settings is not necessary, but it may result in a more productive experience.
</para>
<procedure>
- <step><para>Go to 'Settings > Configure Frescobaldi'</para></step>
+ <step><para>Chose <menuchoice><guimenu>Settings</guimenu><guimenuitem>Configure Frescobaldi</guimenuitem></menuchoice></para></step>
<step><para>In 'General Preferences' check 'Save document when LilyPond is run', or else you will have to save it manually</para></step>
<step><para>Review the other options on this page</para></step>
<step><para>In 'Paths', only some of the fields will be filled; this is okay.
diff --git a/en-US/LilyPond/LilyPond-orchestra.xml b/en-US/LilyPond/LilyPond-orchestra.xml
index 4179215..fa728f8 100644
--- a/en-US/LilyPond/LilyPond-orchestra.xml
+++ b/en-US/LilyPond/LilyPond-orchestra.xml
@@ -136,8 +136,8 @@
<step><para>Let's put in those thirteen measures first.</para>
<procedure>
<step><para>In the NOTES section, find the flute section, and put in <code>R2.*13 |</code>.</para></step>
- <step><para>Here is an explanation of R</para></step>
- <step><para>here is an explanation of |</para></step>
+ <step><para>The <literal>R</literal> symbol means "full-bar rest" (or "full-measure rest"). LilyPond draws full-bar rests differently than rests than rests that simply take up the length of a whole bar.</para></step>
+ <step><para>The <literal>|</literal> symbol is a bar-check symbol. See <xref linkend="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol" /> for more information.</para></step>
<step><para>Copy and past that into the rest of the winds and the timpani.</para></step>
</procedure>
</step>
@@ -179,9 +179,9 @@
</itemizedlist>
As you saw earlier, Frescobaldi attached our staccato markings with the "as you think best" symbol, which is almost always the right choice for articulations. By convention, dynamic markings always go below the staff to which they apply, so we won't want to give LilyPond so much freedom, this time.
</para></step>
- <step><para>The easiest way to add (unformatted) text to a note is to simply attach it in quotation marks. For the "forte" marking, put this on the eighth-rest: <code>r8_"f" etc.</code></para></step>
+ <step><para>The easiest way to add (unformatted) text to a note is to simply attach it in quotation marks. For the "forte" marking, put this on the eighth-rest: <code>r8_"f" <replaceable>and so on</replaceable></code></para></step>
<step><para>When you preview this, you'll notice that the result is thoroughly underwhelming. It looks quite unlike a "forte" marking, and people reading the score would probably be confused, if just momentarily.</para></step>
- <step><para>Thankfully, LilyPond provides a very easy and elegant way to input well-formatted dynamic markings. Change the eighth-rest to this: <code>r8\f etc.</code></para></step>
+ <step><para>Thankfully, LilyPond provides a very easy and elegant way to input well-formatted dynamic markings. Change the eighth-rest to this: <code>r8\f <replaceable>and so on</replaceable></code></para></step>
<step><para>When you preview this, you will see that it now looks exactly like a typical "forte" marking. Not all dynamic markings have these short-forms, but most do.</para></step>
<step><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.</para></step>
<step><para>Those two measures should now look like this:
@@ -203,11 +203,11 @@
</para></step>
<step><para>And now for the horns part. Transposing instruments pose a small problem for LilyPond, as with any human or computerized engraving tool. These steps first ensure that the transposition is set correctly.</para></step>
<step><para>The "hornF" section should already have a <code>\transposition g</code> segment from earlier. This tells LilyPond that the following notes are not in concert pitch, but rather are "in G." A transposition statement tells LilyPond, in absolute pitch, which pitch actually sounds when the player plays a written c' . In this case, the sound pitch is a perfect fourth below c' . If we wanted it to be a perfect fifth higher, then we would need to write <code>\transposition g'</code>, but that's not accurate for this case.</para></step>
- <step><para>Our next obstacle is not actually a problem with LilyPond, but with how Frescobaldi set up the score for us. The score that we wish to notate does not have a written key signature for the horn, but the "global" section (near the top of the file) includes one: G Major. If this score were particularly complicated, or if it contained a large number of transposing instruments, then it would be best to remove the <code>\key ...</code> declration from the "global" section (and including it in every instrument as necessary). However, since there is only one transposing instrument, we might be better off simply removing the global from the horn.</para></step>
+ <step><para>Our next obstacle is not actually a problem with LilyPond, but with how Frescobaldi set up the score for us. The score that we wish to notate does not have a written key signature for the horn, but the "global" section (near the top of the file) includes one: G Major. If this score were particularly complicated, or if it contained a large number of transposing instruments, then it would be best to remove the <code>\key g</code> declartion from the "global" section (and including it in every instrument as necessary). However, since there is only one transposing instrument, we might be better off simply removing the global from the horn.</para></step>
<step><para>do the rest of this stuff to get that done right</para></step>
<step><para>make a note in the global section of which instruments don't use it</para></step>
<step><para>While you're at it, do the same for the trumpets and timpani parts, which also do not use a printed key signature.</para></step>
- <step><para>The other issue with the horn part is that two pitches are to be played at once, and they are both notated in the same voice. This is solved in the piano example like this: <code><g g'></code>. You can copy-and-paste this as needed.</para></step>
+ <step><para>The other issue with the horn part is that two pitches are to be played at once, and they are both notated in the same voice. This is solved in the piano example like this: <code><![CDATA[<g g'>]]></code>. You can copy-and-paste this as needed.</para></step>
<step><para>You can now finish inputting the horn part.</para></step>
</procedure>
</section>
@@ -229,16 +229,16 @@
</itemizedlist></para></listitem>
<listitem><para>Short-term Polyphonic Input (Divisi):
<itemizedlist>
- <listitem><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.</para></listitem>
+ <listitem><para>Anything between <literal><![CDATA[<<]]></literal> and <literal><![CDATA[>>]]></literal> 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.</para></listitem>
<listitem><para>For short-term polyphonic input, use the formula <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.</para></listitem>
</itemizedlist></para></listitem>
<listitem><para>Ties: These can be written by adding ~ to the end of the note beginning the tie: <code>c4~ c8</code></para></listitem>
<listitem><para>Grace Notes: These take up no logical time, and are smaller than ordinary notes. Any notes appearing <code>\grace { in here }</code> would be considered grace notes.</para></listitem>
<listitem><para>Crescendo and Diminuendo Markings:
<itemizedlist>
- <listitem><para>These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with <code>\<</code> and a diminuendo with <code>\></code>.</para></listitem>
- <listitem><para>The left-most point of the marking (its beginning) is indicated by where you put \< or \></para></listitem>
- <listitem><para>The right-most (or end-)point is indicated by either another dynamic marking of any sort, or the special cancellation character (<code>\!</code>).</para></listitem>
+ <listitem><para>These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with literal><![CDATA[\<]]></literal> and a diminuendo with <literal><![CDATA[\>]]></literal>.</para></listitem>
+ <listitem><para>The left-most point of the marking (its beginning) is indicated by where you put <literal><![CDATA[\<]]></literal> or <literal><![CDATA[\>]]></literal></para></listitem>
+ <listitem><para>The right-most (or end-)point is indicated by either another dynamic marking of any sort, or the special cancellation character <literal><![CDATA[\!]]></literal></para></listitem>
</itemizedlist></para></listitem>
<listitem><para>Italic "staccato" Text: <code>\markup { \italic { staccato } }</code></para></listitem>
<listitem><para>Source File Measure Numbers: One of the techniques that can be used when inputting larger scores is writing measure numbers into the source file as comments. I usually write measure numbers every five measures, but it depends on the speed of the music, and what seems like it's useful.</para></listitem>
diff --git a/en-US/LilyPond/LilyPond-piano.xml b/en-US/LilyPond/LilyPond-piano.xml
index 1d539d1..1a2227e 100644
--- a/en-US/LilyPond/LilyPond-piano.xml
+++ b/en-US/LilyPond/LilyPond-piano.xml
@@ -65,11 +65,13 @@
</para>
<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:
- <literallayout>version
- header
- widely-used settings like tempoMark and "global"
- individual parts
- score formatting</literallayout>
+ <orderedlist>
+ <listitem><para>version</para></listitem>
+ <listitem><para>header</para></listitem>
+ <listitem><para>widely-used settings like tempoMark and "global"</para></listitem>
+ <listitem><para>individual parts</para></listitem>
+ <listitem><para>score formatting</para></listitem>
+ </orderedlist>
The specific ordering will become more obvious to you as you get used to LilyPond.
</para>
<para>
@@ -79,16 +81,20 @@
<listitem><para>Use different levels of dividers (like <code>%%%% RIGHT HAND %%%%</code> for the right hand) to show sub-sections</para></listitem>
<listitem><para>Add blank lines between large sections, to separate them more obviously</para></listitem>
<listitem><para>Begin braces on new lines (as
- <literallayout>\header
- {
- title = "Impromptu"
- ...
- }</literallayout>
+<programlisting><![CDATA[
+\header
+{
+ title = "Impromptu"
+ ...
+}
+]]></programlisting>
instead of on the same line (as
- <literallayout>\header {
- title = "Impromptu"
- ...
- }</literallayout>
+<programlisting><![CDATA[
+\header {
+ title = "Impromptu"
+ ...
+}
+]]></programlisting>
This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages.</para></listitem>
<listitem><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.</para></listitem>
<listitem><para>At this point, I also added the "Dynamics Context" commands, as described below in the "Piano Dynamics" section</para></listitem>
@@ -129,19 +135,19 @@
There are two ways to input chords, but one will be used much more often.
</para>
<para>
- This style of chord notation is more common: <code><as ces>4-_</code> Notice how only the pitches are notated inside the < > brackets, and everything else attached to the end. There is one exception to this: fingering should be indicated on the pitch associated with that finger: <code><as-1 ces-3>4-_</code> Not only does this help you to sort out what was probably intended, but it allows LilyPond to stack the fingering in the right order. When using "relative" entry mode, it is the lowest note of the chord that is taken into consideration when placing the next note.
+ This style of chord notation is more common: <literal><![CDATA[<as ces>4-_]]></literal> Notice how only the pitches are notated inside the <literal><![CDATA[< >]]></literal> brackets, and everything else attached to the end. There is one exception to this: fingering should be indicated on the pitch associated with that finger: <literal><![CDATA[<as-1 ces-3>4-_]]></literal> Not only does this help you to sort out what was probably intended, but it allows LilyPond to stack the fingering in the right order. When using "relative" entry mode, it is the lowest note of the chord that is taken into consideration when placing the next note.
</para>
<para>
- This style of chord notation is less common: <code><<as4-> ces>></code> Notice how everything must be notated inside the << >> brackets. This can make it more difficult to read the chord in the source file, but it also allows much greater flexibility: only some chord members can have ties; certain chord members can last for longer than others; certain chord members can "break out" into or out of polyphonic passages. This notation is rarely ''needed'', but you may be inclined to over-use it if you are trying to exactly copy the look of a hand-engraved score. Like the "times" command for tuplets, this is one of LilyPond's deceptively powerful techniques. When using "relative" entry mode, it is the last note of the chord that is taken into consideration when placing the next note.
+ This style of chord notation is less common: <literal><![CDATA[<<as4-> ces>>]]></literal> Notice how everything must be notated inside the <literal><![CDATA[<< >>]]></literal> brackets. This can make it more difficult to read the chord in the source file, but it also allows much greater flexibility: only some chord members can have ties; certain chord members can last for longer than others; certain chord members can "break out" into or out of polyphonic passages. This notation is rarely ''needed'', but you may be inclined to over-use it if you are trying to exactly copy the look of a hand-engraved score. Like the "times" command for tuplets, this is one of LilyPond's deceptively powerful techniques. When using "relative" entry mode, it is the last note of the chord that is taken into consideration when placing the next note.
</para>
</section>
<section id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Fingering">
<title>Fingering</title>
<para>
- LilyPond allows you to indicate fingering by attaching the digit number to a note as an articulation mark: <code>a16-5</code> will show a "5" as a fingering mark. As with all other articulation marks indicated in this way, you can use ^ or _ to instruct LilyPond to put the mark above or below the note, respectively. It is usually better to let LilyPond decide for itself by using a <code>-</code>.
+ LilyPond allows you to indicate fingering by attaching the digit number to a note as an articulation mark: <code>a16-5</code> will show a "5" as a fingering mark. As with all other articulation marks indicated in this way, you can use <literal>^</literal> or <literal>_</literal> to instruct LilyPond to put the mark above or below the note, respectively. It is usually better to let LilyPond decide for itself by using a <literal>-</literal>.
</para>
<para>
- When entering chords, it is recommended that you enter the fingering with the note to which it is attached, like <code><as-1 ces-4>4-_</code>. It is possible to enter this as <code><as ces>4-1-4-></code>, but this not only looks confusing, it may confuse LilyPond as to which digit is intended for which note.
+ When entering chords, it is recommended that you enter the fingering with the note to which it is attached, like <literal><![CDATA[<as-1 ces-4>4-_]]></literal>. It is possible to enter this as <literal><![CDATA[<as ces>4-1-4->]]></literal>, but this not only looks confusing, it may confuse LilyPond as to which digit is intended for which note.
</para>
<para>
Because the extra digits look like they indicate note-lengths, it is recommended to mark them consistently. For this same reason, it is also recommended that fingering marks be added to source files only after the pitch and rhythm have been double-checked. The source file included with this tutorial puts fingering marks after any other articulation and length marking.
@@ -161,7 +167,7 @@
<section id="sect-Musicians_Guide-LilyPond-Piano-Inputting-Changing_the_Style_of_Crescendo">
<title>Changing the Style of Crescendo</title>
<para>
- Sometimes the composer or editor prefers to use the words "''crescendo''" or its abbreviation, "''cresc.''", instead of the angled-line < style of crescendo. In LilyPond these are handled by the same source-file notation (<code>\<</code> to start and <code>\!</code> to end explicitly). However, if you want to use text and a "spanner" (dotted or dashed line, for example) instead of the < sign, you need to tell LilyPond. This can be accomplished with the following command: <code>\crescTextCresc</code>.
+ Sometimes the composer or editor prefers to use the words "''crescendo''" or its abbreviation, "''cresc.''", instead of the <literal><![CDATA[\<]]></literal> style of crescendo. In LilyPond these are handled by the same source-file notation (<literal><![CDATA[\<]]></literal> to start and <code>\!</code> to end explicitly). However, if you want to use text and a "spanner" (dotted or dashed line, for example) instead of the < sign, you need to tell LilyPond. This can be accomplished with the following command: <code>\crescTextCresc</code>.
</para>
<para>
After changing to this style of ''crescendo'', you can revert to the standard < style with the following command: <code>\crescHairpin</code>.
@@ -174,14 +180,16 @@
<title>Polyphonic Sections of Homophonic Music</title>
<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:
- <literallayout><<
- {
- % upper voice notes go here
- } \\
- {
- % lower voice notes go here
- }
- >></literallayout>
+<literal><![CDATA[
+<<
+ {
+ % upper voice notes go here
+ } \\
+ {
+ % lower voice notes go here
+ }
+>>
+]]></literal>
This is used a few times in both hands in the example score file.
</para>
<para>
@@ -244,51 +252,58 @@
</para>
<procedure>
<step><para>Between the left and right staves of the PianoStaff, add "<code>\new PianoDynamics = "dynamics" \dynamics</code>". For the Schubert score, this looks like:
- \new PianoStaff \with
- <literallayout> {
- instrumentName = "Piano"
- }
- <<
- \new Staff = "right" \right
- \new PianoDynamics = "dynamics" \dynamics
- \new Staff = "left" { \clef bass \left }
- >></literallayout></para></step>
+<programlisting><![CDATA[
+\new PianoStaff \with
+ {
+ instrumentName = "Piano"
+ }
+<<
+ \new Staff = "right" \right
+ \new PianoDynamics = "dynamics" \dynamics
+ \new Staff = "left" { \clef bass \left }
+>>
+]]></programlisting>
+ </para></step>
<step><para>To the layout section, add the following:
- <literallayout> % 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.</literallayout>
+<programlisting><![CDATA[
+% 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.
+]]></programlisting>
This creates a "PianoDynamics" context, and modifies the "PianoStaff" context so that it will accept a "PianoDynamics" context.</para></step>
<step><para>Before the "\score" section, add a section called "dynamics," like this:
- <literallayout>dynamics =
- {
- % Dynamics go here.
-
- }</literallayout>
+<programlisting><![CDATA[
+dynamics =
+{
+ % Dynamics go here.
+
+}
+]]></programlisting>
This is where you will input the dynamics.</para></step>
</procedure>
</section>
diff --git a/en-US/LilyPond/LilyPond-syntax.xml b/en-US/LilyPond/LilyPond-syntax.xml
index 3e5407c..b060a11 100644
--- a/en-US/LilyPond/LilyPond-syntax.xml
+++ b/en-US/LilyPond/LilyPond-syntax.xml
@@ -5,15 +5,15 @@
]>
<section id="sect-Musicians_Guide-LilyPond-Syntax">
- <title>LilyPond Basics</title>
+ <title><application>LilyPond</application> Basics</title>
<para>
- LilyPond's syntax is designed to offer the most flexibility through the most diverse musical conditions. Over time, you will realize that features which seem too complex at first are really a very powerful and simple way to solve complex problems that commercial programs cannot.
+ The syntax of <application>LilyPond</application> files offers the most flexibility through the most diverse musical conditions. Over time, you will realize that features which seem too complex at first are really a very powerful and simple way to solve complex problems that commercial programs cannot.
</para>
<section id="sect-Musicians_Guide-LilyPond-Syntax-Letters_Are_Pitches">
<title>Letters Are Pitches</title>
<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."
+ One letter is all that's required to create a note in <application>LilyPond</application>. There are additional symbols and letters that are added to indicate further details, like the register, and whether the note is "sharp" or "flat."
</para>
<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: <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!
@@ -22,13 +22,13 @@
Pitch can be entered either absolutely, or relative to the preceding notes. Usually (for music without frequent large leaps) it is more convenient to use the "relative" mode. The symbols <literal>,</literal> and <literal>'</literal> (comma and apostrophe) are used to indicate register.
</para>
<para>
- When entering absolute pitches, the register is indicated mostly as in the Helmholtz system (see <citetitle>Helmholtz Pitch Notation (Wikipedia)</citetitle> at <ulink url="http://en.wikipedia.org/wiki/Helmholtz_pitch_notation" />: octaves begin on the pitch "C," and end eleven tones higher on the pitch "B." The octave below "middle C" (octave 3 in scientific pitch notation - see <citetitle>Scientific Pitch Notation (Wikipedia)</citetitle> at <ulink url="http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation" />) has no commas or apostrophes. The octave starting on "middle C" (octave 4) has one apostrophe; the octave above that (octave 5) has two apostrophes, and so on. Octave 2 (starting two octaves below "middle C") has one comma, the octave below that has two commas, and so on. It is usually not necessary to understand how to use this in LilyPond, or to be able to use it quickly, because most scores will use "relative mode."
+ When entering absolute pitches, the register is indicated mostly as in the Helmholtz system (see <citetitle>Helmholtz Pitch Notation (Wikipedia)</citetitle> at <ulink url="http://en.wikipedia.org/wiki/Helmholtz_pitch_notation" />: octaves begin on the pitch "C," and end eleven tones higher on the pitch "B." The octave below "middle C" (octave 3 in scientific pitch notation - see <citetitle>Scientific Pitch Notation (Wikipedia)</citetitle> at <ulink url="http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation" />) has no commas or apostrophes. The octave starting on "middle C" (octave 4) has one apostrophe; the octave above that (octave 5) has two apostrophes, and so on. Octave 2 (starting two octaves below "middle C") has one comma, the octave below that has two commas, and so on. It is usually not necessary to understand how to use this in <application>LilyPond</application>, or to be able to use it quickly, because most scores will use "rela
tive mode."
</para>
<para>
- When entering pitches relative to the previous one, the register is still indicated with commas or apostrophes, but usually none are needed. When using this input mode, the octave of each note is guessed based on the octave of the previous note. Think of it this way: the next note will always be placed so it produces the smaller interval. For example, after a C, an E could be placed as a major third, a minor sixth, a major tenth, a minor thirteenth, and so on. In relative mode, LilyPond will always choose the "major third" option. If you wanted LilyPond to notate the E so that it's a minor sixth, you would tell LilyPond with a comma appended: <code>c e,</code> so that LilyPond knows what you want. It's the same case if you were to input <code>c aes</code> (meaning "C then A-flat"): the A-flat will be notated so that it is a major third from the C; if you wanted LilyPond to notate it so that the A-flat is a minor sixth higher than the C, you would need to append an a
postrophe: <code>c aes'</code>
+ When entering pitches relative to the previous one, the register is still indicated with commas or apostrophes, but usually none are needed. When using this input mode, the octave of each note is guessed based on the octave of the previous note. Think of it this way: the next note will always be placed so it produces the smaller interval. For example, after a C, an E could be placed as a major third, a minor sixth, a major tenth, a minor thirteenth, and so on. In relative mode, <application>LilyPond</application> will always choose the "major third" option. If you wanted <application>LilyPond</application> to notate the E so that it's a minor sixth, you would tell <application>LilyPond</application> with a comma appended: <code>c e,</code> so that <application>LilyPond</application> knows what you want. It's the same case if you were to input <code>c aes</code> (meaning "C then A-flat"): the A-flat will be notated so that it is a major third from the C; if you wante
d <application>LilyPond</application> to notate it so that the A-flat is a minor sixth higher than the C, you would need to append an apostrophe: <code>c aes'</code>
</para>
<para>
- The only possible ambiguity with this method is with a tritone. LilyPond solves this by not recognizing "tritones," per se, and thinking of them as "augmented fourth" or "diminished fifth." Unless instructed otherwise (with a comma or apostrophe), LilyPond will always notate the interval as an augmented fourth.
+ The only possible ambiguity with this method is with a tritone. <application>LilyPond</application> solves this by not recognizing "tritones," per se, and thinking of them as "augmented fourth" or "diminished fifth." Unless instructed otherwise (with a comma or apostrophe), <application>LilyPond</application> will always notate the interval as an augmented fourth.
</para>
<para>
You must always indicate a sharp or flat, even if it is already in a key signature. This ultimately helps to reduce the number of errors.
@@ -41,7 +41,7 @@
<section id="sect-Musicians_Guide-LilyPond-Syntax-Numbers_Are_Durations">
<title>Numbers Are Durations</title>
<para>
- A number appended to a letter is understood by LilyPond to indicate that particular note's note-value. A ''whole note'' is indicated with a 1, and all other durations are indicated with a number representing the fraction of a whole note that they occupy: ''half notes'' are 2 (like "1/'''2''' note"); ''quarter notes'' are 4 (like "1/'''4''' note"); ''eighth notes'' are 8 (like "1/'''8''' note") and so on.
+ A number appended to a letter is understood by <application>LilyPond</application> to indicate that particular note's note-value. A ''whole note'' is indicated with a 1, and all other durations are indicated with a number representing the fraction of a whole note that they occupy: ''half notes'' are 2 (like "1/'''2''' note"); ''quarter notes'' are 4 (like "1/'''4''' note"); ''eighth notes'' are 8 (like "1/'''8''' note") and so on.
</para>
<para>
To add a "dot" to a note (thereby increasing its length by one half), you simply include a period after the number. For example, <literal>e4.</literal> means "dotted quarter note on E."
@@ -57,10 +57,10 @@
<section id="sect-Musicians_Guide-LilyPond-Syntax-Articulations">
<title>Articulations</title>
<para>
- Many different symbols are used to tell LilyPond to add articulation signs to a note. They are all appended after the pitch and (if included) duration, and many have a position indicator, too.
+ Many different symbols are used to tell <application>LilyPond</application> to add articulation signs to a note. They are all appended after the pitch and (if included) duration, and many have a position indicator, too.
</para>
<para>
- A full list of articulation markings is available in the LilyPond manual, and Frescobaldi remembers most of them for you (they are stored in the left-side panel).
+ A full list of articulation markings is available in the <application>LilyPond</application> manual, and <application>Frescobaldi</application> remembers most of them for you (they are stored in the left-side panel).
</para>
<para>
These are some of the most common articulation marks, which use a position indicator unless specified otherwise:
@@ -78,7 +78,7 @@
<para>
There are three position indicators:
<itemizedlist>
- <listitem><para><literal>-</literal> which means to put the articulation mark wherever LilyPond thinks it makes sense</para></listitem>
+ <listitem><para><literal>-</literal> which means to put the articulation mark wherever <application>LilyPond</application> thinks it makes sense</para></listitem>
<listitem><para><literal>_</literal> which means to put the articulation mark ''below'' the note-head</para></listitem>
<listitem><para><literal>^</literal> which means to put the articulation mark ''above'' the note-head</para></listitem>
</itemizedlist>
@@ -89,57 +89,57 @@
<section id="sect-Musicians_Guide-LilyPond-Syntax-Simultaneity">
<title>Simultaneity</title>
<para>
- Simply put, anything enclosed inside << and >> is considered by LilyPond to happen simultaneously. This can be used in any context (and any Context - see above/below). It is possible to tell LilyPond that you want two notes to happen at the same time in the same voice (yielding a chord), at the same time on the same staff (yielding polyphony), and so on. Moreover, any score with multiple staves will use << and >> to tell LilyPond that the parts should begin at the same time, and creative use of << and >> is one of the keys to advanced notation.
+ Simply put, anything enclosed inside <literal><![CDATA[<<]]></literal> and <literal><![CDATA[>>]]></literal> is considered by <application>LilyPond</application> to happen simultaneously. This can be used in any context (and any Context - see above/below). It is possible to tell <application>LilyPond</application> that you want two notes to happen at the same time in the same voice (yielding a chord), at the same time on the same staff (yielding polyphony), and so on. Moreover, any score with multiple staves will use <literal><![CDATA[<<]]></literal> and <literal><![CDATA[>>]]></literal> to tell <application>LilyPond</application> that the parts should begin at the same time, and creative use of <literal><![CDATA[<<]]></literal> and <literal><![CDATA[>>]]></literal> is one of the keys to advanced notation.
</para>
<para>
- It is not important to understand simultaneity at first. By observing how Frescobaldi creates scores for you, and how examples on the internet take advantage of these symbols, you will eventually understand how to use them.
+ It is not important to understand simultaneity at first. By observing how <application>Frescobaldi</application> creates scores for you, and how examples on the internet take advantage of these symbols, you will eventually understand how to use them.
</para>
</section>
<section id="sect-Musicians_Guide-LilyPond-Syntax-Chords">
<title>Chords</title>
<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.
+ Making use of the <literal><![CDATA[<<]]></literal> and <literal><![CDATA[>>]]></literal> idea to indicate simultaneity, if a note has multiple pitches indicated between <literal><![CDATA[>]]></literal> and <literal><![CDATA[<]]></literal> then <application>LilyPond</application> assumes that they are in a chord together. Notating a single chord with single <literal><![CDATA[< >]]></literal> 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.
</para>
<para>
- Consider the following examples, which should produce equivalent output: <code><<g'4->-5 b d>></code> and <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 <literal>5</literal> 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 <literal>5</literal> is actually a fingering indication.
+ Consider the following examples, which should produce equivalent output: <code><![CDATA[<<g'4->-5 b d>>]]></code> and <code><![CDATA[<g' b d>4->-5]]></code> With the first example, it is more difficult to see the chord notes, the duration, and what the <literal>5</literal> means. With the second example, it is easy to see that the chord notes are a <literal>G</literal>, a <literal>B</literal>, and a <literal>D</literal>, that they have quarter-note duration, and that the <literal>5</literal> is actually a fingering indication.
</para>
<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 >> .
+ There is another advantage to using <literal><![CDATA[<]]></literal> and <literal><![CDATA[>]]></literal> 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 <literal><![CDATA[<<]]></literal> and <literal><![CDATA[>>]]></literal>, where where following notes will be notated as relative to the last note between the <literal><![CDATA[<<]]></literal> and <literal><![CDATA[>>]]></literal>
</para>
</section>
<section id="sect-Musicians_Guide-LilyPond-Syntax-Commands">
<title>Commands</title>
<para>
- There are a wide variety of commands available in LilyPond, some of them quite simple, and other quite complex. They all begin with a backslash, followed by the name of the command, and subsequent "arguments" that give the command further information about what you want it to do. Just like using a letter to indicate a note, commands are simply another way for you to tell LilyPond how you want your score to be rendered.
+ There are a wide variety of commands available in <application>LilyPond</application>, some of them quite simple, and other quite complex. They all begin with a backslash, followed by the name of the command, and subsequent "arguments" that give the command further information about what you want it to do. Just like using a letter to indicate a note, commands are simply another way for you to tell <application>LilyPond</application> how you want your score to be rendered.
</para>
<para>
For example, <code>\time 2/4</code> and <code>\clef bass</code> are two commands that you are likely to use quite often. They happen to do precisely what it seems like they should: ''time'' changes the time signature and metre, and ''clef'' changes the clef. they belong to differen contexts (''time'' applies for the whole Score, but ''clef'' for only one Staff).
</para>
<para>
- It can take some time to remember even these basic commands and the way you should format their input, and this is where Frescobaldi's built-in documentation viewer can help out. All of the official LilyPond documentation is made available in Frescobaldi, which makes it easy for you to view the documentation and make changes to your score in the same window of the same application.
+ It can take some time to remember even these basic commands and the way you should format their input, and this is where <application>Frescobaldi</application>'s built-in documentation viewer can help out. All of the official <application>LilyPond</application> documentation is made available in <application>Frescobaldi</application>, which makes it easy for you to view the documentation and make changes to your score in the same window of the same application.
</para>
<section id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Customization">
<title>Customization</title>
<para>
- It is rarely necessary to customize LilyPond's output in a way that is very specific, and not allowed for in the standard LilyPond syntax. As a beginner, this can happen quite often when you are trying to exactly emulate the look of a pre-existing score. Remember that LilyPond provides a content-focussed way to express music, and that it will usually produce meaningful output without advanced interference. If in doubt about whether a customization is really necessary, ask yourself this: will it change the music that is played from the score?
+ It is rarely necessary to customize the output in a way that is very specific, and not allowed for in the standard <application>LilyPond</application> syntax. As a beginner, this can happen quite often when you are trying to exactly emulate the look of a pre-existing score. Remember that <application>LilyPond</application> provides a content-focussed way to express music, and that it will usually produce meaningful output without advanced interference. If in doubt about whether a customization is really necessary, ask yourself this: will it change the music that is played from the score?
</para>
<para>
If you really must customize some setting, then keep in mind these two points:
<orderedlist>
- <listitem><para>Tinkering with LilyPond can become as complex as you want.</para></listitem>
+ <listitem><para>Tinkering with <application>LilyPond</application> can become as complex as you want.</para></listitem>
<listitem><para>Ultimately all tinkering takes the form of commands.</para></listitem>
</orderedlist>
</para>
<para>
- Searching the internet for LilyPond tips and tricks can be a life-saver, but it can also lead to needlessly complex solutions. Sometimes this is the result of poor solutions being posted on the internet, but more often it is the result of LilyPond's ongoing development, which makes better solutions available regularly. For this reason, it is recommended to search the official LilyPond documentation first, then the "LilyPond Snippet Repository" (LSR - link here), and then Google.
+ Searching the internet for <application>LilyPond</application> tips and tricks can be a life-saver, but it can also lead to needlessly complex solutions. Sometimes this is the result of poor solutions being posted on the internet, but more often it is the result of the ongoing development of <application>LilyPond</application>, which makes better solutions available regularly. For this reason, it is recommended to search the official <application>LilyPond</application> documentation first, then the "<application>LilyPond</application> Snippet Repository" (LSR - link here), and then Google.
</para>
</section>
<section id="sect-Musicians_Guide-LilyPond-Syntax-Commands-Contexts">
<title>Contexts</title>
<para>
- Another aspect of LilyPond that often confuses beginners is the idea of contexts. It is an essential concept for modifying default behaviour. Like everything in LilyPond, it makes perfect sense: "context" means "context." The three primary contexts are "Voice," "Staff," and "Score." Everything that happens in a score happens in a context - it's just that simple - everything happens in a context! Everything that happens in a score happens in Score context, everything that happens on a staff happens in a Staff context, and everything that happens in a voice happens in a Voice context.
+ Another aspect of <application>LilyPond</application> that often confuses beginners is the idea of contexts. It is an essential concept for modifying default behaviour. Like everything in <application>LilyPond</application>, it makes perfect sense: "context" means "context." The three primary contexts are "Voice," "Staff," and "Score." Everything that happens in a score happens in a context - it's just that simple - everything happens in a context! Everything that happens in a score happens in Score context, everything that happens on a staff happens in a Staff context, and everything that happens in a voice happens in a Voice context.
</para>
<para>
To help clear things up a little, here are three examples:
@@ -171,7 +171,7 @@
To help further clarify, consider the following:
</para>
<para>
- As in the real world, objects in LilyPond can potentially happen in any context...
+ As in the real world, objects in <application>LilyPond</application> can potentially happen in any context...
<itemizedlist>
<listitem><para>(like a doorknob on a door)</para></listitem>
<listitem><para>(like a bus driver sitting in a bus' drivers' seat)</para></listitem>
@@ -198,7 +198,7 @@
</itemizedlist>
</para>
<para>
- Because LilyPond's designers wisely decided that they could not conceive of all the possible uses for something, they allowed any plug-in/engraver/tool to be used in any context(?? I think ??). Furthermore, they decided that a Context should be allowed to happen within another Context, which makes sense - a Voice context only makes sense if it appears on a Staff, and a Staff only makes sense if it appears in a Score.
+ The <application>LilyPond</application> designers wisely decided that they could not think of all possible uses for their software, so <application>LilyPond</application> allows most engravers to be used in most contexts. Furthermore, a context can happen within an other context, which makes sense - a <literal>Voice</literal> context only makes sense if it appears on a <literal>Staff</literal>, and a <literal>Staff</literal> only makes sense if it appears in a <literal>Score</literal>.
</para>
<para>
So, when trying to sort out the context in which something should apply, ask yourself exactly that: "In what context does this apply?" Beams and flags happen in one voice, accidentals apply to a whole staff, and tempo markings apply to the whole score. Although it may take some careful thought to get used to the idea, contexts ultimately make perfect sense.
@@ -209,10 +209,10 @@
<section id="sect-Musicians_Guide-LilyPond-Syntax-Source_Files">
<title>Source Files and Their Formatting</title>
<para>
- Source files are the text files prepared with instructions telling LilyPond the content of the score you want it to create. They are so called because these files are the "source" of what you wish to create. As with programming languages, the text inside these files is often referred to as "source code." It sounds scary to think that you must edit code in order to use LilyPond, but "code" just means that it isn't normal English (or insert-language-here).
+ Source files are the text files prepared with instructions telling <application>LilyPond</application> the content of the score you want it to create. They are so called because these files are the "source" of what you wish to create. As with programming languages, the text inside these files is often referred to as "source code." It sounds scary to think that you must edit code in order to use <application>LilyPond</application>, but "code" just means that it isn't normal English (or insert-language-here).
</para>
<para>
- The particular formatting (the placement of tabs, spaces, and newlines) is not determined by LilyPond, but by individual users. This can be a headache when you encounter somebody else's formatting, but it is one of the keys to LilyPond's flexibility. This Guide uses a very specific style of formatting, but it should be understood that this is simply the style of one user, affected by their experiences, and the tasks they usually perform in LilyPond.
+ The particular formatting (the placement of tabs, spaces, and newlines) is not determined by <application>LilyPond</application>, but by individual users. This can be a headache when you encounter somebody else's formatting, but it is one of the keys to the application's flexibility. This guide uses a very specific style of formatting, but it should be understood that this is simply the style of one user, affected by their experiences, and the tasks they usually perform in <application>LilyPond</application>.
</para>
<para>
You will eventually develop your own style, better-suited to the kinds of tasks that you accomplish. When you do this, there is only one rule to keep in mind: be consistent within source files. When source files are programmed in a consistent way, it means that anybody who wants to use those files (like yourself, in the future) will easily be able to determine how they are organized.
@@ -220,78 +220,82 @@
<section id="sect-Musicians_Guide-">
<title>Organizing Files, and Where to Put the Notes</title>
<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.
+ <application>LilyPond</application> files are constructed as a series of commands. For better or worse, the <application>LilyPond</application> 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 <application>Frescobaldi</application>.
</para>
<para>
- The generic structure of a LilyPond source file is this:
- <literallayout>\version "whatever_version"
-
- \header { things like title, composer, and so on }
-
- \score
- {
- \new Staff
- {
- notes can go here
- }
-
- \layout
- {
- }
-
- and so on
- }</literallayout>
+ The generic structure of a <application>LilyPond</application> source file is this:
+<programlisting>
+\version <replaceable>version_number</replaceable>
+
+\header { <replaceable>things like title, composer, and so on</replaceable> }
+
+\score
+{
+ \new Staff
+ {
+ <replaceable>notes go here</replaceable>
+ }
+
+ \layout
+ {
+ }
+
+ <replaceable>and so on</replaceable>
+}
+</programlisting>
</para>
<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.
+ Confusion arises here: for maximum flexibility, <application>LilyPond</application> 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 <application>LilyPond</application> - as a means of text-substition.
</para>
<para>
It works like this:
</para>
<procedure>
- <step><para>You "define" (create) a command with the form <code>commandName = { lots of commands }</code></para></step>
- <step><para>You can then use the command anywhere below that, as many times as you want, by writing <code>\commandName</code> in your source file. When LilyPond processes that portion of text, it will instead see whatever you wrote in the definition.</para></step>
+ <step><para>You "define" (create) a command with the form <code><replaceable>commandName</replaceable> = { <replaceable>lots of commands</replaceable> }</code></para></step>
+ <step><para>You can then use the command anywhere below that, as many times as you want, by writing <code>\commandName</code> in your source file. When <application>LilyPond</application> processes that portion of text, it will instead see whatever you wrote in the definition.</para></step>
</procedure>
<para>
It's as easy as 1-2!
</para>
<para>
- Frescobaldi (along with most LilyPond users) take advantage of this functionality to provide well-organized, easy-to-use source files.
+ <application>Frescobaldi</application> (along with most <application>LilyPond</application> users) take advantage of this functionality to provide well-organized, easy-to-use source files.
</para>
<para>
- Here is a good template source file, that might be created for you by Frescobaldi:
- <literallayout>\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 { }
- }</literallayout>
+ Here is a good template source file, that might be created for you by <application>Frescobaldi</application>:
+<programlisting>
+\version "2.12.2"
+
+\header
+{
+ title = "<replaceable>Example</replaceable>"
+}
+
+<replaceable>something</replaceable> = \relative c''
+{
+ \key <replaceable>c \major</replaceable>
+ \time <replaceable>4/4</replaceable>
+ % Music follows here.
+}
+
+\score
+{
+ \new Staff \with
+ {
+ instrumentName = "<replaceable>Something</replaceable>"
+ }
+ \<replaceable>something</replaceable>
+ \layout { }
+}
+</programlisting>
</para>
<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.
+ 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 <literal>\score</literal> 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.
</para>
<para>
- So where do the notes go? In this template, they should go in the "violin" section. Frescobaldi usually marks this off with a friendly comment, stating "% Music follows here." That's exactly what it means: most of your time will be spent working with what follows there.
+ So where do the notes go? In this template, they should go in the "violin" section. <application>Frescobaldi</application> usually marks this off with a friendly comment, stating "% Music follows here." That's exactly what it means: most of your time will be spent working with what follows there.
</para>
<para>
- As a final note, we caution against removing the "layout" section of the "score" section. Removing the "layout" section would cause LilyPond not to create a score as output.
+ As a final note, we caution against removing the "layout" section of the "score" section. Removing the "layout" section would cause <application>LilyPond</application> not to create a score as output.
</para>
</section>
</section>
@@ -299,21 +303,21 @@
<section id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors">
<title>Avoiding Errors</title>
<para>
- The LilyPond syntax has two built-in symbols for helping to avoid musical errors. The octave-check symbol ensures that your notes are in the octave you intend. The bar-check symbols ensures that your barlines are where you intend.
+ The <application>LilyPond</application> syntax has two built-in symbols for helping to avoid musical errors. The octave-check symbol ensures that your notes are in the octave you intend. The bar-check symbols ensures that your barlines are where you intend.
</para>
<section id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Octave_Check_Symbol">
<title>Octave-Check Symbol</title>
<para>
- The octave-check symbol compares a relative pitch with its absolute pitch equivalent. LilyPond prints a warning if the pitches do not match, then continues with the absolute pitch. You should correct the relative pitch when LilyPond prints a warning.
+ The octave-check symbol compares a relative pitch with its absolute pitch equivalent. <application>LilyPond</application> prints a warning if the pitches do not match, then continues with the absolute pitch. You should correct the relative pitch when <application>LilyPond</application> prints a warning.
</para>
<para>
- The octave-check symbols is <code>=</code>. The symbol appears after the note, and is followed by a comma (<code>,</code>), apostrophe (<code>'</code>), or neither, depending on the intended relative octave of the pitch.
+ The octave-check symbols is <literal>=</literal>. The symbol appears after the note, and is followed by a comma (<literal>,</literal>), apostrophe (<literal>'</literal>), or neither, depending on the intended relative octave of the pitch.
</para>
<para>
- Here is an example use of the octave-check symbol: <code>c'='''</code>. In this example, the absolute pitch is <code>c'''</code>, which LilyPond knows because of the <code>c</code> at the left, and the <code>'''</code> after the <code>=</code> symbol.
+ Here is an example use of the octave-check symbol: <code>c'='''</code>. In this example, the absolute pitch is <code>c'''</code>, which <application>LilyPond</application> knows because of the <code>c</code> at the left, and the <code>'''</code> after the <code>=</code> symbol.
</para>
<para>
- How does this example work: <code>c'=4</code> ? There is a <code>4</code> after the <code>=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code>c</code>, which LilyPond knows because of the <code>c</code> to the left of the <code>=</code> symbol, and because there is no comma or apostrophe to the right of the <code>=</code> symbol. LilyPond understands the <code>4</code> as "quarter note."
+ How does this example work: <code>c'=4</code> ? There is a <code>4</code> after the <code>=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code>c</code>, which <application>LilyPond</application> knows because of the <code>c</code> to the left of the <code>=</code> symbol, and because there is no comma or apostrophe to the right of the <code>=</code> symbol. <application>LilyPond</application> understands the <code>4</code> as "quarter note."
</para>
<para>
You should use the octave-check symbol when you need it. New users use the octave-check symbol more frequently than experienced users.
@@ -322,27 +326,31 @@
<section id="sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol">
<title>Bar-Check Symbol</title>
<para>
- The bar-check symbol tests whether a barline is printed at that point in the music. LilyPond prints a warning if the bar-check symbol does not line up with a barline in the score, then processes the rest of the file. You must correct an inputting mistake when LilyPond prints a warning.
+ The bar-check symbol tests whether a barline is printed at that point in the music. <application>LilyPond</application> prints a warning if the bar-check symbol does not line up with a barline in the score, then processes the rest of the file. You must correct an inputting mistake when <application>LilyPond</application> prints a warning.
</para>
<para>
- The bar-check symbol is <code>|</code>. We recommend including a bar-check symbol at the end of every bar, and inputting only one bar on every line, so that errors are easier to find.
+ The bar-check symbol is <literal>|</literal>. We recommend including a bar-check symbol at the end of every bar, and inputting only one bar on every line, so that errors are easier to find.
</para>
<para>
This example is correct, and will not trigger a warning:
- <literallayout>\time 4/4
- c4 c c c |
- c4 c c c |</literallayout>
+<programlisting><![CDATA[
+\time 4/4
+c4 c c c |
+c4 c c c |
+]]></programlisting>
There are four quarter-notes between each bar-check symbol, which is the right number of beats.
</para>
<para>
This example is incorrect, and will trigger a warning:
- <literallayout>\time 4/4
- c2 c c c |
- c4 c c c |</literallayout>
- 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.
+<programlisting><![CDATA[
+\time 4/4
+c2 c c c |
+c4 c c c |
+]]></programlisting>
+ The first bar has four half-notes, which is twice as many beats as are allowed. <application>LilyPond</application> will print a warning at the first bar-check symbol.
</para>
<para>
- You should always fix the first warning printed by LilyPond, then reprocess the file and fix remaining warnings. One mistake sometimes triggers more than one bar-check warning, so if you fix the first warning, the rest may disappear.
+ You should always fix the first warning printed by <application>LilyPond</application>, 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.
</para>
</section>
</section>
diff --git a/en-US/LilyPond/LilyPond.xml b/en-US/LilyPond/LilyPond.xml
index b08a147..526401f 100644
--- a/en-US/LilyPond/LilyPond.xml
+++ b/en-US/LilyPond/LilyPond.xml
@@ -5,50 +5,50 @@
]>
<chapter id="chap-Musicians_Guide-LilyPond">
- <title>LilyPond</title>
+ <title><application>LilyPond</application></title>
<para>
- LilyPond is a notation engraving program, with a focus on creating a visually appealing product. LilyPond is text-based, and allows you to focus on the (semantic?) content of your musical scores, rather than on their visual appearance. Conventional commercial notation engraving programs allow users to edit the score visually. While this approach has its benefits, especially because it's very easy to see exactly what the printed score will look like, it also has disadvantages - chief among these is the fact that users of those programs are constantly worrying about what their score looks like.
+ <application>LilyPond</application> is a notation engraving program, with a focus on creating a visually appealing product. <application>LilyPond</application> is text-based, and allows you to focus on the (semantic?) content of your musical scores, rather than on their visual appearance. Conventional commercial notation engraving programs allow users to edit the score visually. While this approach has its benefits, especially because it's very easy to see exactly what the printed score will look like, it also has disadvantages - chief among these is the fact that users of those programs are constantly worrying about what their score looks like.
</para>
<para>
- This is where LilyPond comes in - users don't need to worry about how their score will work, because they know that the expertly-crafted methods of LilyPond will automatically configure the objects on the score so that they look good, and are easy to read. LilyPond's users focus on ''what'' needs to be displayed, rather than on ''how'' it is going to be displayed.
+ This is where <application>LilyPond</application> comes in - users don't need to worry about how their score will work, because they know that the expertly-crafted methods of <application>LilyPond</application> will automatically configure the objects on the score so that they look good, and are easy to read. <application>LilyPond</application>'s users focus on ''what'' needs to be displayed, rather than on ''how'' it is going to be displayed.
</para>
<para>
- As with any particular approach, the LilyPond approach is not for everybody. However, once you have become accustomed to working with the software, and once you have learned methods to help deal with problems and organize your scores' source-files, you will probably realize that LilyPond is both much faster, and much more flexible, than traditional, commercially-available music engraving programs.
+ As with any particular approach, the <application>LilyPond</application> approach is not for everybody. However, once you have become accustomed to working with the software, and once you have learned methods to help deal with problems and organize your scores' source-files, you will probably realize that <application>LilyPond</application> is both much faster, and much more flexible, than traditional, commercially-available music engraving programs.
</para>
<para>
- LilyPond offers many other features, too. Some of these features include:
+ <application>LilyPond</application> offers many other features, too. Some of these features include:
<itemizedlist>
<listitem><para>Putting scores into LaTeX or HTML documents.</para></listitem>
- <listitem><para>Putting scores into OpenOffice.org documents, with the <code>ooolilypond</code> program.</para></listitem>
+ <listitem><para>Putting scores into <application>OpenOffice.org</application> documents, with the <application>ooolilypond</application> program.</para></listitem>
<listitem><para>Being compatible with all major operating systems.</para></listitem>
<listitem><para>Managing parts and full scores for large compositions.</para></listitem>
<listitem><para>Allowing new musical symbols with the Scheme programming language.</para></listitem>
</itemizedlist>
</para>
<para>
- It is the goal of this guide to help users more quickly overcome the initial learning handicap incurred because of the text-based approach. Making use of tools such as the Frescobaldi text-editor will help to increase productivity, to make trouble-shooting easier, and to ease the memory burden associated with the text-based approach.
+ It is the goal of this guide to help users more quickly overcome the initial learning handicap incurred because of the text-based approach. Making use of tools such as the <application>Frescobaldi</application> text-editor will help to increase productivity, to make trouble-shooting easier, and to ease the memory burden associated with the text-based approach.
</para>
<section id="sect-Musicians_Guide-LilyPond-How_LilyPond_Works">
- <title>How LilyPond Works</title>
+ <title>How <application>LilyPond</application> Works</title>
<para>
- Think of LilyPond as an automobile mechanic. When your car breaks down, the mechanic knows which tools to use. You can buy tools to fix your car by yourself, but the mechanic is specialized. The mechanic knows what tools to use, how to prepare the tools, and how to fix your car faster than you can fix it. LilyPond uses many programs that you can use by yourself, but LilyPond is specialized. LilyPond knows what programs to use, what settings to use, and most importantly, LilyPond takes much less time than if you use the programs directly.
+ Think of <application>LilyPond</application> as an automobile mechanic. When your car breaks down, the mechanic knows which tools to use. You can buy tools to fix your car by yourself, but the mechanic is specialized. The mechanic knows what tools to use, how to prepare the tools, and how to fix your car faster than you can fix it. <application>LilyPond</application> uses many programs that you can use by yourself, but <application>LilyPond</application> is specialized. <application>LilyPond</application> knows what programs to use, what settings to use, and most importantly, <application>LilyPond</application> takes much less time than if you use the programs directly.
</para>
<para>
- We give instructions to LilyPond in specially-formed text files. LilyPond input files describe the music to notate. LilyPond decides how the music will look, then creates an output file. The input file does not contain instructions about how the music looks. Sometimes you must make an adjustment to how the output file looks, so LilyPond lets you change the settings of its internal tools.
+ We give instructions to <application>LilyPond</application> in specially-formed text files. <application>LilyPond</application> input files describe the music to notate. <application>LilyPond</application> decides how the music will look, then creates an output file. The input file does not contain instructions about how the music looks. Sometimes you must make an adjustment to how the output file looks, so <application>LilyPond</application> lets you change the settings of its internal tools.
</para>
</section>
<section id="sect-Musicians_Guide-LilyPond-The_LilyPond_Approach">
- <title>The LilyPond Approach</title>
+ <title>The <application>LilyPond</application> Approach</title>
<para>
- For an extensive explanation of the following section, please see the <citetitle>LilyPond Website</citetitle> at <ulink url="http://www.lilypond.org/about/automated-engraving/" />, from where this was sourced.
+ For an extensive explanation of the following section, please see the <citetitle><application>LilyPond</application> Website</citetitle> at <ulink url="http://www.lilypond.org/about/automated-engraving/" />, from where this was sourced.
</para>
<para>
- LilyPond works by separating the tasks of what to put, and where to put it. Each aspect of an object's position is controlled by a specific plug-in. You can think of the plug-ins as tools. LilyPond knows how and when to use each tool; if it doesn't know enough about a tool, then it isn't used.
+ <application>LilyPond</application> works by separating the tasks of what to put, and where to put it. Each aspect of an object's position is controlled by a specific plug-in. You can think of the plug-ins as tools. <application>LilyPond</application> knows how and when to use each tool; if it doesn't know enough about a tool, then it isn't used.
</para>
<para>
- Before LilyPond places an object, it first considers many different possibilities for the specific alignment and layout of that object. Then it evaluates the possibilities according to aesthetic criteria set out to reflect those used in hand-engraved notation. After assigning each possibility a score representing how closely it resembles to the aesthetic ideal, LilyPond then chooses the better possibility.
+ Before <application>LilyPond</application> places an object, it first considers many different possibilities for the specific alignment and layout of that object. Then it evaluates the possibilities according to aesthetic criteria set out to reflect those used in hand-engraved notation. After assigning each possibility a score representing how closely it resembles to the aesthetic ideal, <application>LilyPond</application> then chooses the better possibility.
</para>
</section>
@@ -57,10 +57,10 @@
<procedure>
<step><para>Use PackageKit or KPackageKit to install the <literal>lilypond</literal> package.</para></step>
<step><para>Review the dependencies. Many packages called <literal>lilypond-*-fonts</literal> are installed.</para></step>
- <step><para>LilyPond is run from the command line, with the command <command>lilypond</command>.</para></step>
+ <step><para><application>LilyPond</application> is run from the command line, with the command <command>lilypond</command>.</para></step>
</procedure>
<para>
- We recommend that you use the Frescobaldi text editor, which is designed specifically for LilyPond. It has many features that enhance productivity when editing LilyPond files, and that greatly speed up the learning process. Refer to <xref linkend="chap-Musicians_Guide-Frescobaldi" /> for more information.
+ We recommend that you use the <application>Frescobaldi</application> text editor, which is designed specifically for <application>LilyPond</application>. It has many features that enhance productivity when editing <application>LilyPond</application> files, and that greatly speed up the learning process. Refer to <xref linkend="chap-Musicians_Guide-Frescobaldi" /> for more information.
</para>
</section>
diff --git a/en-US/Planet_CCRMA_at_Home.xml b/en-US/Planet_CCRMA_at_Home.xml
index 0121f29..fc5f74a 100644
--- a/en-US/Planet_CCRMA_at_Home.xml
+++ b/en-US/Planet_CCRMA_at_Home.xml
@@ -120,7 +120,7 @@
[main]
enabled = 1
]]></programlisting>
- If you want to stop using the plugin, you can edit this file so that <code>enabled = 0</code>. This allows you to keep the priorities as set in the repository configuration files.</para></step>
+ If you want to stop using the plugin, you can edit this file so that it contains <code>enabled = 0</code> This allows you to keep the priorities as set in the repository configuration files.</para></step>
<step><para>You can set priorities for some or all repositories. To add a priority to a repository, edit its respective file in the <filename>/etc/yum.repos.d/<replaceable>*</replaceable></filename> directory, adding a line like: <literal>priority = <replaceable>N</replaceable></literal> where <literal>N</literal> is a number between <literal>1</literal> and <literal>99</literal>, inclusive. A priority of <literal>1</literal> is the highest setting, and <literal>99</literal> is the lowest. You will need to set priorities of at least two repositories before this becomes useful.</para></step>
</procedure>
</section>
diff --git a/en-US/Qtractor.xml b/en-US/Qtractor.xml
index 05757cf..90390a0 100644
--- a/en-US/Qtractor.xml
+++ b/en-US/Qtractor.xml
@@ -107,7 +107,7 @@
<orderedlist>
<listitem><para>Click on 'View > Instruments'</para></listitem>
<listitem><para>In the ''Instruments'' window, click "Import."</para></listitem>
- <listitem><para>Navigate to <code>/usr/share/soundfonts</code></para></listitem>
+ <listitem><para>Navigate to <filename>/usr/share/soundfonts</filename></para></listitem>
<listitem><para>Select the SoundFonts that you would like to use. The default is the FluidR3 GM SoundFont, but you can choose multiple SoundFonts to use simultaneously.</para></listitem>
<listitem><para>Close the ''Instruments'' window to return to the main Qtractor window.</para></listitem>
</orderedlist>
diff --git a/en-US/Real_Time_and_Low_Latency.xml b/en-US/Real_Time_and_Low_Latency.xml
index 0906874..fa083a8 100644
--- a/en-US/Real_Time_and_Low_Latency.xml
+++ b/en-US/Real_Time_and_Low_Latency.xml
@@ -4,6 +4,9 @@
%BOOK_ENTITIES;
]>
+<!-- Resources and Information -->
+<!-- http://docs.hp.com/en/B2355-90693/rtprio.2.html -->
+
<chapter id="chap-Musicians_Guide-Real_Time_and_Low_Latency">
<title>Real-Time and Low Latency</title>
<para>
@@ -29,7 +32,7 @@
If you've ever opened the "System Monitor" application, you will probably have noticed that there are a lot of "processes" running all the time. Some of these processes need the processor, and some of them are just waiting around for something to happen. To help increase the number of processes that can run at the same time, many modern CPUs have more than one "core," which allows for more processes to be evaluated at the same time. Even with these improvements, there are usually more processes than available cores: my computer right now has 196 processes and only three cores. There has to be a way of decided which process gets to run and when, and this task is left to the operating system.
</para>
<para>
- In GNU/Linux systems like Fedora Linux, the core of the operating system (called the '''kernel''') is responsible for deciding which process gets to execute at what time. This responsibility is called "scheduling." Scheduling access to the processor is called, '''processor scheduling'''. The kernel also manages scheduling for a number of other things, like memory access, video hardware access, audio hardware access, hard drive access, and so on. The algorithm (procedure) used for each of these scheduling tasks is different for each, and can be changed depending on the user's needs and the specific hardware being used. In a hard drive, for example, it makes sense to consider the physical location of data on a disk before deciding which process gets to read first. For a processor this is irrelevant, but there are many other things to consider.
+ In Linux systems like Fedora Linux, the core of the operating system (called the '''kernel''') is responsible for deciding which process gets to execute at what time. This responsibility is called "scheduling." Scheduling access to the processor is called, '''processor scheduling'''. The kernel also manages scheduling for a number of other things, like memory access, video hardware access, audio hardware access, hard drive access, and so on. The algorithm (procedure) used for each of these scheduling tasks is different for each, and can be changed depending on the user's needs and the specific hardware being used. In a hard drive, for example, it makes sense to consider the physical location of data on a disk before deciding which process gets to read first. For a processor this is irrelevant, but there are many other things to consider.
</para>
<para>
There are a number of scheduling algorithms that are available with the standard Linux kernel, and for most uses, a "fair queueing" system is appropriate. This helps to ensure that all processes get an equal amount of time with the processor, and it's unacceptable for audio work. If you're recording a live concert, and the "PackageKit" update manager starts, you don't care if PackageKit gets a fair share of processing time - it's more important that the audio is recorded as accurately as possible. For that matter, if you're recording a live concert, and your computer isn't fast enough to update the monitor, keyboard, and mouse position while providing uninterrupted, high-quality audio, you want the audio instead of the monitor, keyboard, and mouse. After all, once you've missed even the smallest portion of audio, it's gone for good!
diff --git a/en-US/Revision_History.xml b/en-US/Revision_History.xml
index fe3ff39..fc2df32 100644
--- a/en-US/Revision_History.xml
+++ b/en-US/Revision_History.xml
@@ -100,7 +100,7 @@
</simplelist>
</revdescription>
</revision>
- <!--
+
<revision>
<revnumber>6</revnumber>
<date>Sat Aug 7 2010</date>
@@ -111,12 +111,23 @@
</author>
<revdescription>
<simplelist>
- <member>Reviewed use of <code> tags.</member>
<member>Added tables to SuperCollider chapter.</member>
+ <member>Reviewed <code> tags, all but Basic Programming in SC.</member>
</simplelist>
</revdescription>
</revision>
- -->
+
+ <!-- TODO: review <code> in "Basic Programming in SC" -->
+ <!-- TODO: re-write JACK install instructions to incorporate jack2 in F14 -->
+ <!-- TODO: remove '' and ''' used for emphasis and replace with <emphasis> -->
+
+ <!-- TODO: convert images to format given by R. Landmann -->
+ <!-- TODO: complete review of <code> tags -->
+ <!-- TODO: convert SuperCollider examples to <xi:include ... /> -->
+ <!-- TODO: convert LilyPond examples to <xi:include ... /> -->
+
+ <!-- TODO: ensure that everything is formatted correctly -->
+ <!-- TODO: re-write the entire Guide to use the Apple Style Guide / CMoS / American Heritage Dictionary -->
</revhistory>
</simpara>
</appendix>
diff --git a/en-US/Rosegarden.xml b/en-US/Rosegarden.xml
index 2587d8f..235a6fe 100644
--- a/en-US/Rosegarden.xml
+++ b/en-US/Rosegarden.xml
@@ -19,25 +19,25 @@
<section id="sect-Musicians_Guide-Rosegarden-Software_Requirements">
<title>Software Requirements</title>
<para>
- Rosegarden uses the JACK Audio Connection Kit. You should install JACK before installing Rosegarden. See <xref linkend="sect-Musicians_Guide-Install_and_Configure_JACK" /> for instructions to install JACK.
+ <application>Rosegarden</application> uses the <application>JACK Audio Connection Kit</application>. You should install <application>JACK</application> before installing <application>Rosegarden</application>. See <xref linkend="sect-Musicians_Guide-Install_and_Configure_JACK" /> for instructions to install <application>JACK</application>.
</para>
</section>
<section id="sect-Musicians_Guide-Rosegarden-Hardware_Requirements">
<title>Hardware Requirements</title>
<para>
- You need an audio interface to use Rosegarden. If you will record audio with Rosegarden, 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>FluidSynth</code> and <code>SuperCollider</code>.
+ You need an audio interface to use <application>Rosegarden</application>. If you will record audio with <application>Rosegarden</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <application>JACK</application>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>.
</para>
</section>
<section id="sect-Musicians_Guide-Rosegarden-Other_Requirements">
<title>Other Requirements</title>
<para>
- You need a MIDI synthesizer to use Rosegarden as a MIDI sequencer. You can use hardware-based and software-based synthesizers with Rosegarden. We recommend using the software-based <code>FluidSynth</code> MIDI synthesizer. See <xref linkend="chap-Musicians_Guide-FluidSynth" /> for information about <code>FluidSynth</code>.
+ You need a MIDI synthesizer to use <application>Rosegarden</application> as a MIDI sequencer. You can use hardware-based and software-based synthesizers with <application>Rosegarden</application>. We recommend using the software-based <application>FluidSynth</application> MIDI synthesizer. See <xref linkend="chap-Musicians_Guide-FluidSynth" /> for information about <application>FluidSynth</application>.
</para>
</section>
<section id="sect-Musicians_Guide-Rosegarden-Installation">
<title>Installation</title>
<para>
- Use PackageKit or KPackageKit to install the "rosegarden4" packge. Other required software is installed automatically.
+ Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>rosegarden4</package> packge. Other required software is installed automatically.
</para>
</section>
</section> <!-- Ends "Requirements and Installation" Section -->
@@ -46,19 +46,19 @@
<title>Configuration</title>
<section id="sect-Musicians_Guide-Rosegarden-Configuration-JACK_and_Qsynth">
- <title>Setup JACK and Qsynth</title>
+ <title>Setup <application>JACK</application> and <application>Qsynth</application></title>
<para>
<orderedlist>
- <listitem><para>Start QjackCtl to control JACK.</para></listitem>
- <listitem><para>Start Qsynth to control FluidSynth.</para></listitem>
- <listitem><para>In order to receive MIDI input from Rosegarden, Qsynth will need to be configured to use the "alsa_seq" MIDI Driver. Instructions for doing this can be found in <xref linkend="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input" />.</para></listitem>
- <listitem><para>You may want to disconnect all JACK connections except for those that you want to use with Rosegarden. Open QjackCtl's "Connect" window, and verify the following:
+ <listitem><para>Start <application>QjackCtl</application> to control <application>JACK</application>.</para></listitem>
+ <listitem><para>Start <application>Qsynth</application> to control FluidSynth.</para></listitem>
+ <listitem><para>In order to receive MIDI input from <application>Rosegarden</application>, <application>Qsynth</application> will need to be configured to use the "alsa_seq" MIDI Driver. Instructions for doing this can be found in <xref linkend="sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input" />.</para></listitem>
+ <listitem><para>You may want to disconnect all <application>JACK</application> connections except for those that you want to use with <application>Rosegarden</application>. Open <application>QjackCtl</application>'s "Connect" window, and verify the following:
<itemizedlist>
<listitem><para>On the "Audio" tab:
<itemizedlist>
<listitem><para>Qsynth's output ports are connected to the "system" input ports.</para></listitem>
- <listitem><para>If you plan to use audio in Rosegarden (in addition to MIDI), then you will need to connect its output ports to the "system" input ports, too. The ports labeled "record monitor" are to be used to monitor audio while it is being recorded. The ports labeled "master out" will be used during regular file playback. Rosegarden does not need to be connected directly to the system output ports if you are only using MIDI.</para></listitem>
- <listitem><para>If you plan to record audio in Rosegarden, then you will need to connect an output port (probably from "system") to Rosegarden's input port. Be aware that Rosegarden can record from two independent sources ("1" and "2"), with two channels ("L" for left and "R" for right) from each, to produce a stereo recording.</para></listitem>
+ <listitem><para>If you plan to use audio in <application>Rosegarden</application> (in addition to MIDI), then you will need to connect its output ports to the "system" input ports, too. The ports labeled "record monitor" are to be used to monitor audio while it is being recorded. The ports labeled "master out" will be used during regular file playback. <application>Rosegarden</application> does not need to be connected directly to the system output ports if you are only using MIDI.</para></listitem>
+ <listitem><para>If you plan to record audio in <application>Rosegarden</application>, then you will need to connect an output port (probably from "system") to <application>Rosegarden</application>'s input port. Be aware that <application>Rosegarden</application> can record from two independent sources ("1" and "2"), with two channels ("L" for left and "R" for right) from each, to produce a stereo recording.</para></listitem>
</itemizedlist>
</para></listitem>
<listitem><para>On the "MIDI" tab:
@@ -73,7 +73,7 @@
<listitem><para>3:out 2 - General MIDI Device (for the second set of MIDI instruments in the session)</para></listitem>
</itemizedlist>
</para></listitem>
- <listitem><para>To make Rosegarden take commands from another MIDI device, you'll need to connect its output ports to Rosegarden's input ports. I don't know what they are for yet:
+ <listitem><para>To make <application>Rosegarden</application> take commands from another MIDI device, you'll need to connect its output ports to <application>Rosegarden</application>'s input ports. I don't know what they are for yet:
<itemizedlist>
<listitem><para>0:record in</para></listitem>
<listitem><para>2:external controller</para></listitem>
@@ -90,18 +90,18 @@
</para>
</section>
<section id="sect-Musicians_Guide-Rosegarden-Configuration-Rosegarden">
- <title>Setup Rosegarden</title>
+ <title>Setup <application>Rosegarden</application></title>
<para>
<orderedlist>
<listitem><para>'Edit > Preferences'</para></listitem>
<listitem><para>Setup "General" as desired.
<itemizedlist>
- <listitem><para>On "Behaviour" tab maybe "Use JACK Transport"</para></listitem>
+ <listitem><para>On "Behaviour" tab maybe "Use <application>JACK</application> Transport"</para></listitem>
<listitem><para>On "Extrenal Applications" tab maybe change those to match what's installed (GNOME users)</para></listitem>
</itemizedlist>
</para></listitem>
<listitem><para>Setup "MIDI" as desired.
- <itemizedlist><listitem><para>On "MIDI Sync" tab maybe set to "Send MIDI Clock, Start and Stop" if Rosegarden is the ultimate controller, or "Accept Start, Stop and Continue" if it's being controlled. Otherwise "Off" is safe.</para></listitem></itemizedlist>
+ <itemizedlist><listitem><para>On "MIDI Sync" tab maybe set to "Send MIDI Clock, Start and Stop" if <application>Rosegarden</application> is the ultimate controller, or "Accept Start, Stop and Continue" if it's being controlled. Otherwise "Off" is safe.</para></listitem></itemizedlist>
</para></listitem>
<listitem><para>Setup "Audio" as desired.
<itemizedlist>
@@ -113,12 +113,12 @@
</orderedlist>
</para>
</section>
- </section> <!-- Ends "Configuration" Section --> <!-- Rosegarden-Configuration- -->
+ </section> <!-- Ends "Configuration" Section --> <!-- <application>Rosegarden</application>-Configuration- -->
<section id="sect-Musicians_Guide-Rosegarden_and_LilyPond">
- <title>Rosegarden and LilyPond</title>
+ <title><application>Rosegarden</application> and LilyPond</title>
<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:
+ <application>Rosegarden</application> 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:
<programlisting><![CDATA[
\score
{
@@ -126,26 +126,26 @@
\midi { }
}
]]></programlisting>
- 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.
+ This MIDI file can then be imported into <application>Rosegarden</application> by selecting from the menu 'File > Import > Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once.
</para>
<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!
+ 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, <application>Rosegarden</application> 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!
</para>
</section>
<section id="sect-Musicians_Guide-Rosegarden-Tutorial">
- <title>Write a Song in Rosegarden (Tutorial)</title>
+ <title>Write a Song in <application>Rosegarden</application> (Tutorial)</title>
<para>
- When using Rosegarden's notation editor, the application may accidentally leave some notes playing longer than it should. You can fix this, if it bothers you, by pressing the "panic" button in Qsynth. If you are using another synthesizer with a panic button, it should server the same function.
+ When using <application>Rosegarden</application>'s notation editor, the application may accidentally leave some notes playing longer than it should. You can fix this, if it bothers you, by pressing the "panic" button in <application>Qsynth</application>. If you are using another synthesizer with a panic button, it should server the same function.
</para>
<section id="sect-Musicians_Guide-Rosegarden-Tutorial-Bass_Line">
<title>Start the Score with a Bass Line</title>
<para>
<orderedlist>
- <listitem><para>Start QjackCtl, then Qsynth, then Rosegarden.</para></listitem>
+ <listitem><para>Start <application>QjackCtl</application>, then <application>Qsynth</application>, then <application>Rosegarden</application>.</para></listitem>
<listitem><para>For this tutorial, we'll be using the default "Fluid R3" SoundFont, but you can use any General MIDI SoundFont.</para></listitem>
- <listitem><para>Setup Rosegarden in JACK for MIDI use only.</para></listitem>
- <listitem><para>From the Rosegarden menu, select 'Edit > Preferences'. Click the "MIDI" tab, then the 'General' tab, then select "Send all MIDI controllers at start of each playback". This will ensure that the MIDI synthesizer (<code>FluidSynth</code> for this tutorial) uses the right patches.</para></listitem>
+ <listitem><para>Setup <application>Rosegarden</application> in <application>JACK</application> for MIDI use only.</para></listitem>
+ <listitem><para>From the <application>Rosegarden</application> menu, select 'Edit > Preferences'. Click the "MIDI" tab, then the 'General' tab, then select "Send all MIDI controllers at start of each playback". This will ensure that the MIDI synthesizer (<application>FluidSynth</application> for this tutorial) uses the right patches.</para></listitem>
<listitem><para>Create a new segment.
<orderedlist>
<listitem><para>Click on the "Draw" tool on the toolbar (it looks like a red pencil), or press 'F3' on the keyboard.</para></listitem>
@@ -162,7 +162,7 @@
</para></listitem>
<listitem><para>You'll probably make a few mistakes. The easiest way to fix a mistake is to erase the note/s and re-input the correct note/s. You can use the eraser tool for this. It's located on the top toolbar of the score editing window, to the left of the capital "T," and to the right of the red pencil. It looks like a red and white rectangle, which represents a standard white eraser.</para></listitem>
<listitem><para>Listen to your creation by clicking on the 'play' button in the transport window. The playhead won't stop until you stop it, even though the visible playhead (the vertical line) will stop.</para></listitem>
- <listitem><para>Close the notation editor - you don't need to click the 'save' button, because Rosegarden will automatically keep your changes.</para></listitem>
+ <listitem><para>Close the notation editor - you don't need to click the 'save' button, because <application>Rosegarden</application> will automatically keep your changes.</para></listitem>
<listitem><para>You should save the file, though.</para></listitem>
<listitem><para>Click the "Select and Edit" tool, which looks like a mouse cursor on the toolbar. You can also select that tool by pressing 'F2' on the keyboard.</para></listitem>
<listitem><para>Select the segment you just created by clicking on it.</para></listitem>
@@ -180,7 +180,7 @@
<orderedlist>
<listitem><para>Select the second track, and rename it to "Percussion" (or something else, if you prefer).</para></listitem>
<listitem><para>In the "Instrument Parameters" portion of the toolbox on the left side of the editor window, check the "Percussion" check-box.</para></listitem>
- <listitem><para>Play the transport for just a second, so that Rosegarden synchronized the re-assignment with FluidSynth</para></listitem>
+ <listitem><para>Play the transport for just a second, so that <application>Rosegarden</application> synchronized the re-assignment with FluidSynth</para></listitem>
<listitem><para>Press 'F3' on the keyboard, or click on the "Draw" tool, which looks like a pencil.</para></listitem>
<listitem><para>Create a one-measure segment in the second track, then right-click on the segment, and select 'Open in Percussion Matrix Editor'.
<orderedlist>
@@ -226,7 +226,7 @@
<listitem><para>Make sure that you have the "Melody" track selected.</para></listitem>
<listitem><para>Select the "General MIDI" bank, which is probably already selected.</para></listitem>
<listitem><para>For the program, select whatever you prefer. I decided to use program 51, called "Synth Strings 1." It reminds me of music from the 1980s.</para></listitem>
- <listitem><para>After setting the program, press 'play' on the transport toolbar, and let it go for just a second. This will allow Rosegarden to send the program-change message to FluidSynth. It isn't strictly necessary, and it would have been done later anyway, but doing it now helps to avoid confusion later.</para></listitem>
+ <listitem><para>After setting the program, press 'play' on the transport toolbar, and let it go for just a second. This will allow <application>Rosegarden</application> to send the program-change message to FluidSynth. It isn't strictly necessary, and it would have been done later anyway, but doing it now helps to avoid confusion later.</para></listitem>
</orderedlist>
</para></listitem>
<listitem><para>Use the "Select and Edit" tool to create a segment in the "Melody" track, of four measures long.</para></listitem>
@@ -251,6 +251,6 @@
</itemizedlist>
</para>
</section>
- </section> <!-- Ends "Tutorial" Section --> <!-- Rosegarden-Tutorial- -->
+ </section> <!-- Ends "Tutorial" Section --> <!-- <application>Rosegarden</application>-Tutorial- -->
</chapter>
diff --git a/en-US/Solfege.xml b/en-US/Solfege.xml
index e050981..e4e7301 100644
--- a/en-US/Solfege.xml
+++ b/en-US/Solfege.xml
@@ -16,7 +16,7 @@
It is assumed that, prior to using GNU Solfege, users have already correctly configured their audio equipment.
</para>
<para>
- In addition, the <code>timidity++</code> package is required by Solfege, which requires the installation of a large (approximately 140 MB) SoundFont library. This library is shared with the <code>FluidSynth</code> application, which has its own section in this Guide, and is used by several other software packages. <code>timidity++</code> also requires the installation of the JACK Audio Connection Kit. If you have installed the Planet CCRMA at Home repository, and have not yet followed the instructions to correctly install and configure its version of JACK, then it is recommended that you do so before installing GNU Solfege. Refer to <xref linkend="sect-Musicians_Guide-Install_and_Configure_JACK" /> for installations to install JACK.
+ In addition, the <application>timidity++</application> package is required by Solfege, which requires the installation of a large (approximately 140 MB) SoundFont library. This library is shared with the <application>FluidSynth</application> application, which has its own section in this guide, and is used by several other software packages. <application>timidity++</application> also requires the installation of the JACK Audio Connection Kit. If you have installed the Planet CCRMA at Home repository, and have not yet followed the instructions to correctly install and configure its version of JACK, then it is recommended that you do so before installing GNU Solfege. Refer to <xref linkend="sect-Musicians_Guide-Install_and_Configure_JACK" /> for installations to install JACK.
</para>
</section>
<section id="sect-Musicians_Guide-Solfege-Other_Requirements">
@@ -40,7 +40,7 @@
Csound is a sound-synthesis program, similar to SuperCollider. It is older, quite well-developed, and has a broader range of features.
</para>
<para>
- To install Csound, first close Solfege, then use PackageKit or KPackageKit to install the "csound" package, or run <code>su -c 'yum instal csound'</code> in a terminal. When Solfege is restarted, you will be able to use the "Intonation" exercises.
+ To install Csound, first close Solfege, then use PackageKit or KPackageKit to install the <package>csound</package> package. When Solfege is restarted, you will be able to use the "Intonation" exercises.
</para>
</section>
<section id="sect-Musicians_Guide-Solfege-Install_MMA">
diff --git a/en-US/Sound_Servers.xml b/en-US/Sound_Servers.xml
index 5626be0..8ff8d00 100644
--- a/en-US/Sound_Servers.xml
+++ b/en-US/Sound_Servers.xml
@@ -25,10 +25,10 @@
<section id="sect-Musicians_Guide-Sound_Servers-PulseAudio">
<title>PulseAudio</title>
<para>
- PulseAudio is an advanced sound server, intended to make audio programming in GNU/Linux operating systems as easy as possible. The idea behind its design is that an audio application needs only to output audio to PulseAudio, and PulseAudio will take care of the rest: choosing and controlling a particular device, adjusting the volume, working with other applications, and so on. PulseAudio even has the ability to use "networked sound," which allows two computers using PulseAudio to communicate as though they were one computer - either computer can input from or output to either computer's audio hardware just as easily as its own audio hardware. This is all controlled within PulseAudio, so no further complication is added to the software.
+ <systemitem>PulseAudio</systemitem> is an advanced sound server, intended to make audio programming in Linux operating systems as easy as possible. The idea behind its design is that an audio application needs only to output audio to <systemitem>PulseAudio</systemitem>, and <systemitem>PulseAudio</systemitem> will take care of the rest: choosing and controlling a particular device, adjusting the volume, working with other applications, and so on. <systemitem>PulseAudio</systemitem> even has the ability to use "networked sound," which allows two computers using <systemitem>PulseAudio</systemitem> to communicate as though they were one computer - either computer can input from or output to either computer's audio hardware just as easily as its own audio hardware. This is all controlled within <systemitem>PulseAudio</systemitem>, so no further complication is added to the software.
</para>
<para>
- The Fedora Project's integration of PulseAudio as a vital part of the operating system has helped to ensure that audio applications can "just work" for most people under most circumstances. This has made it much easier for users to carry out basic audio tasks.
+ The Fedora Project's integration of <systemitem>PulseAudio</systemitem> as a vital part of the operating system has helped to ensure that audio applications can "just work" for most people under most circumstances. This has made it much easier for users to carry out basic audio tasks.
</para>
<!--
Fernando Lopez-Lezcano: I don't think that at this point applications can be written for the pulse audio API. Lennart I think discourages it. AFAIK applications still use the ALSA API when talking to pulse audio, it is just that pulse is in the middle, and can manage connections from many applications that basically share the audio hardware (which is only managed by PA). So what is made easier is not "audio programming" but perhaps "shared access to the sound card". You would not want to program for PA (it is very complex, perhaps even more than ALSA as it is all asynchronous and callback based).
@@ -37,42 +37,42 @@
-->
</section>
<section id="sect-Musicians_Guide-Sound_Servers-JACK">
- <title>JACK Audio Connection Kit</title>
+ <title><systemitem>JACK</systemitem> Audio Connection Kit</title>
<para>
- The JACK sound server offers fewer features than other sound servers, but they are tailor-made to allow the functionality required by audio creation applications. JACK also makes it easier for users to configure the options that are most important for such situations. The server supports only one sample rate and format at a time, and allows applications and hardware to easily connect and multiplex in ways that other sound servers do not (see <xref linkend="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing" /> for information about routing and multiplexing). It is also optimized to run with consistently low latencies. Although using JACK requires a better understanding of the underlying hardware, the "QjackCtl" application provides a graphical user interface to ease the process.
+ The <systemitem>JACK</systemitem> sound server offers fewer features than other sound servers, but they are tailor-made to allow the functionality required by audio creation applications. <systemitem>JACK</systemitem> also makes it easier for users to configure the options that are most important for such situations. The server supports only one sample rate and format at a time, and allows applications and hardware to easily connect and multiplex in ways that other sound servers do not (see <xref linkend="sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing" /> for information about routing and multiplexing). It is also optimized to run with consistently low latencies. Although using <systemitem>JACK</systemitem> requires a better understanding of the underlying hardware, the <application>QjackCtl</application> application provides a graphical user interface to ease the process.
</para>
</section>
<section id="sect-Musicians_Guide-Sound_Servers-Phonon">
<title>Phonon</title>
<para>
- Phonon is a sound server built into the KDE Software Compilation, and is one of the core components of KDE. By default on Fedora Linux, Phonon feeds output to PulseAudio, but on other platforms (like Mac OS X, Windows, other versions of Linux, FreeBSD, and any other system that supports KDE), Phonon can be configured to feed its output anywhere. This is its greatest strength - that KDE applications like Amarok and Dragon Player need only be programmed to use Phonon, and they can rely on Phonon to take care of everything else. As KDE applications increasingly find their place in Windows and especially Mac OS X, this cross-platform capability is turning out to be very useful.
+ Phonon is a sound server built into the KDE Software Compilation, and is one of the core components of KDE. By default on Fedora Linux, Phonon feeds output to <systemitem>PulseAudio</systemitem>, but on other platforms (like Mac OS X, Windows, other versions of Linux, FreeBSD, and any other system that supports KDE), Phonon can be configured to feed its output anywhere. This is its greatest strength - that KDE applications like Amarok and Dragon Player need only be programmed to use Phonon, and they can rely on Phonon to take care of everything else. As KDE applications increasingly find their place in Windows and especially Mac OS X, this cross-platform capability is turning out to be very useful.
</para>
</section>
</section>
<section id="sect-Musicians_Guide-Using_JACK">
- <title>Using the JACK Audio Connection Kit</title>
+ <title>Using the <systemitem>JACK</systemitem> Audio Connection Kit</title>
<!-- TODO: Rewrite this section, knowing that jack2 will be in Fedora 14 -->
<!-- TODO: If you keep the config-file-tinkering, make sure it's clear why it's there -->
<!-- TODO: See if SELinux can be configured to control who/what has access to real-time priority -->
<section id="sect-Musicians_Guide-Install_and_Configure_JACK">
- <title>Installing and Configuring JACK</title>
+ <title>Installing and Configuring <systemitem>JACK</systemitem></title>
<para>
<orderedlist>
<listitem><para>Ensure that you have installed the Planet CCRMA at Home repositories. For instructions, refer to <xref linkend="sect-Musicians_Guide-CCRMA_Installing_Repository" />.</para></listitem>
<listitem><para>Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>jack-audio-connection-kit</package> and <package>qjackctl</package> packages.</para></listitem>
<listitem><para>Review and approve the installation, making sure that it completes correctly.</para></listitem>
- <listitem><para>Run QjackCtl from the KMenu or the Applications menu.</para></listitem>
- <listitem><para>To start the JACK server, press the 'Start' button; to stop it, press the 'Stop' button.</para></listitem>
+ <listitem><para>Run <application>QjackCtl</application> from the KMenu or the Applications menu.</para></listitem>
+ <listitem><para>To start the <systemitem>JACK</systemitem> server, press the 'Start' button; to stop it, press the 'Stop' button.</para></listitem>
<listitem><para>Use the 'Messages' button to see messages, which are usually errors or warnings.</para></listitem>
<listitem><para>Use the 'Status' button to see various statistics about the currently-running server.</para></listitem>
<listitem><para>Use the 'Connections' button to see and adjust the connections between applications and audio hardware.</para></listitem>
</orderedlist>
</para>
<para>
- JACK will operate without following this procedure, but users are strongly encouraged to follow these three steps, for security reasons. They will help to allow optimal performance of the JACK sound server, while greatly reducing the risk that an application or user will accidentally or malicious take advantage of the capability.
+ <systemitem>JACK</systemitem> will operate without following this procedure, but users are strongly encouraged to follow these three steps, for security reasons. They will help to allow optimal performance of the <systemitem>JACK</systemitem> sound server, while greatly reducing the risk that an application or user will accidentally or malicious take advantage of the capability.
<orderedlist>
- <listitem><para>Add all of the users who will use JACK to the "audio" group. For instructions to add users to groups, see Chapter 22, <citetitle>Users and Groups</citetitle> of the <citetitle>Fedora Deployment Guide</citetitle>, available at <ulink url="http://docs.fedoraproject.org" />.</para></listitem>
+ <listitem><para>Add all of the users who will use <systemitem>JACK</systemitem> to the <literal>audio</literal> group. For instructions to add users to groups, see Chapter 22, <citetitle>Users and Groups</citetitle> of the <citetitle>Fedora Deployment Guide</citetitle>, available at <ulink url="http://docs.fedoraproject.org" />.</para></listitem>
<listitem><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.
<orderedlist>
<listitem><para>Open a terminal, and run the following command: <command>sudo -c 'gedit /etc/security/limits.conf'</command></para></listitem>
@@ -88,44 +88,44 @@
</orderedlist>
</para>
<para>
- With the default configuration of QjackCtl, it chooses the "default" sound card, which actually goes through the ALSA sound server. We can avoid this, and use the ALSA drivers without the sound server, which will help JACK to maintain accurately low latencies. The following procedure configures JACK to connect to the ALSA driver directly.
+ With the default configuration of <application>QjackCtl</application>, it chooses the "default" sound card, which actually goes through the ALSA sound server. We can avoid this, and use the ALSA drivers without the sound server, which will help <systemitem>JACK</systemitem> to maintain accurately low latencies. The following procedure configures <systemitem>JACK</systemitem> to connect to the ALSA driver directly.
</para>
<!-- Part of this procedure appears in the Audacity chapter. Keep them in sync. -->
<procedure>
<step><para>Open a terminal. In GNOME, click on 'Applications > System > Terminal'. In KDE, click on the application launcher, then 'System > Konsole'.</para></step>
<step><para>Execute this command: "cat /proc/asound/cards".</para></step>
- <step><para>The <code>cat</code> program outputs a list of sound cards in your computer, which looks similar to this list:
+ <step><para>The <application>cat</application> program outputs a list of sound cards in your computer, which looks similar to this list:
<programlisting><![CDATA[
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
]]></programlisting>
- 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>SB</code> and <code>MobilePre</code>.</para></step>
- <step><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>cat</code>, then your Fedora does not detect it.</para></step>
- <step><para>Start QjackCtl.</para></step>
+ 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 <literal>SB</literal> and <literal>MobilePre</literal>.</para></step>
+ <step><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 <application>cat</application>, then your computer does not detect it.</para></step>
+ <step><para>Start <application>QjackCtl</application>.</para></step>
<step><para>Open the "Setup" window by clicking 'Setup'.</para></step>
- <step><para>In the 'Interface' text box, type the name of your preferred sound card with "hw:" in front. With the sound cards listed above, you might write <code>hw:MobilePre</code>.</para></step>
- <step><para>Save your settings by exiting QjackCtl. If you want to use JACK, restart QjackCtl.</para></step>
+ <step><para>In the 'Interface' text box, type the name of your preferred sound card with "hw:" in front. With the sound cards listed above, you might write <literal>hw:MobilePre</literal>.</para></step>
+ <step><para>Save your settings by exiting <application>QjackCtl</application>. If you want to use <systemitem>JACK</systemitem>, restart <application>QjackCtl</application>.</para></step>
</procedure>
</section>
<section id="sect-Musicians_Guide-Using_QjackCtl">
- <title>Using QjackCtl</title>
+ <title>Using <application>QjackCtl</application></title>
<para>
- The QjackCtl application offers many more features and configuration options. The patch bay is a notable feature, which lets users save configurations of the "Connections" window, and restore them later, to help avoid the lengthy set-up time that might be required in complicated routing and multiplexing situations.
+ The <application>QjackCtl</application> application offers many more features and configuration options. The patch bay is a notable feature, which lets users save configurations of the "Connections" window, and restore them later, to help avoid the lengthy set-up time that might be required in complicated routing and multiplexing situations.
</para>
<para>
- For more information on QjackCtl, refer to <citetitle>Jack Audio Connection Kit (64studio)</citetitle> at <ulink url="http://www.64studio.com/manual/audio/jack" />.
+ For more information on <application>QjackCtl</application>, refer to <citetitle>Jack Audio Connection Kit (64studio)</citetitle> at <ulink url="http://www.64studio.com/manual/audio/jack" />.
</para>
</section>
<section id="sect-Musicians_Guide-Integrating_PulseAudio_with_JACK">
- <title>Integrating PulseAudio with JACK</title>
+ <title>Integrating <systemitem>PulseAudio</systemitem> with <systemitem>JACK</systemitem></title>
<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.
+ The default configuration of <systemitem>PulseAudio</systemitem> yields control of the audio equipment to <systemitem>JACK</systemitem> when the <systemitem>JACK</systemitem> server starts. <systemitem>PulseAudio</systemitem> will not be able to receive input or send output of any audio signals on the audio interface used by <systemitem>JACK</systemitem>. This is fine for occasional users of <systemitem>JACK</systemitem>, but many users will want to use <systemitem>JACK</systemitem> and <systemitem>PulseAudio</systemitem> simultaneously, or switch between the two frequently. The following instructions will configure <systemitem>PulseAudio</systemitem> so that its input and output is routed through <systemitem>JACK</systemitem>.
<orderedlist>
<listitem><para>Use PackageKit or KPackageKit to install the <package>pulseaudio-module-jack</package> package.</para></listitem>
<listitem><para>Approve the installation and ensure that it is carried out properly.</para></listitem>
- <listitem><para>You'll need to edit the PulseAudio configuration file to use the JACK module.
+ <listitem><para>You'll need to edit the <systemitem>PulseAudio</systemitem> configuration file to use the <systemitem>JACK</systemitem> module.
<orderedlist>
<listitem><para>Be careful! You will be editing an important system file as the root user!</para></listitem>
<listitem><para>Run the following command in a terminal: <command>sudo -c 'gedit /etc/pulse/default.pa'</command></para></listitem>
@@ -136,12 +136,12 @@ load-module module-jack-source
]]></programlisting>
</para></listitem>
</orderedlist></para></listitem>
- <listitem><para>Restart PulseAudio by running the following command in a terminal: <command>killall pulseaudio</command> PulseAudio restarts automatically.</para></listitem>
- <listitem><para>Confirm that this has worked by opening QjackCtl. The display should confirm that JACK is "Active".</para></listitem>
- <listitem><para>In the "Connect" window, on the "Audio" tab, there should be PulseAudio devices on each side, and they should be connected to "system" devices on the opposite sides.</para></listitem>
- <listitem><para>Open QjackCtl's "Setup" window, then click on the "Options" tab. Uncheck "Execute script after Shutdown: killall jackd". If you did not make this change, then QjackCtl would stop the JACK server from running every time the program quits. Since PulseAudio is still expecting to use JACK after that, you shouldn't do this any more.</para></listitem>
- <listitem><para>When PulseAudio starts JACK, it uses the command found in the <code>~/.jackdrc</code> file. QjackCtl automatically updates this file when you change settings, but you may have to restart both PulseAudio and JACK in order to get the new changes to take effect. If they refuse to take effect, you can edit that file yourself.</para></listitem>
- <listitem><para>Be careful about using a very high sample rate with PulseAudio, since it will tend to use a lot of CPU power.</para></listitem>
+ <listitem><para>Restart <systemitem>PulseAudio</systemitem> by running the following command in a terminal: <command>killall pulseaudio</command> <systemitem>PulseAudio</systemitem> restarts automatically.</para></listitem>
+ <listitem><para>Confirm that this has worked by opening <application>QjackCtl</application>. The display should confirm that <systemitem>JACK</systemitem> is "Active".</para></listitem>
+ <listitem><para>In the "Connect" window, on the "Audio" tab, there should be <systemitem>PulseAudio</systemitem> devices on each side, and they should be connected to "system" devices on the opposite sides.</para></listitem>
+ <listitem><para>Open <application>QjackCtl</application>'s "Setup" window, then click on the "Options" tab. Uncheck "Execute script after Shutdown: killall jackd". If you did not make this change, then <application>QjackCtl</application> would stop the <systemitem>JACK</systemitem> server from running every time the program quits. Since <systemitem>PulseAudio</systemitem> is still expecting to use <systemitem>JACK</systemitem> after that, you shouldn't do this any more.</para></listitem>
+ <listitem><para>When <systemitem>PulseAudio</systemitem> starts <systemitem>JACK</systemitem>, it uses the command found in the <filename>~/.jackdrc</filename> file. <application>QjackCtl</application> automatically updates this file when you change settings, but you may have to restart both <systemitem>PulseAudio</systemitem> and <systemitem>JACK</systemitem> in order to get the new changes to take effect. If they refuse to take effect, you can edit that file yourself.</para></listitem>
+ <listitem><para>Be careful about using a very high sample rate with <systemitem>PulseAudio</systemitem>, since it will tend to use a lot of CPU power.</para></listitem>
</orderedlist>
</para>
</section>
diff --git a/en-US/SuperCollider/SuperCollider-Basic_Programming.xml b/en-US/SuperCollider/SuperCollider-Basic_Programming.xml
index 145c752..78b4d74 100644
--- a/en-US/SuperCollider/SuperCollider-Basic_Programming.xml
+++ b/en-US/SuperCollider/SuperCollider-Basic_Programming.xml
@@ -1285,45 +1285,103 @@ stop( some background music );
<section id="sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators">
<title>Boolean Operators</title>
<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.
- </para>
- <para>
- The following table lists "binary" boolean operators, meaning that they take two arguments (one on the left and one on the right), and produce either "true" or "false".
- {|
- ! Operator !! Meaning
- |-
- | < || less than
- |-
- | <= || less than or equal to
- |-
- | > || greater than
- |-
- | >= || greater than or equal to
- |-
- | == || equivalent (equal)
- |-
- | != || not equivalent (equal)
- |-
- | === || identical (the same Object)
- |-
- | !== || not identical (not the same Object)
- |-
- | && || logical And
- |-
- | || || logical Or (two pipe characters... can't be shown in the Wiki table)
- |}
- </para>
- <para>
- The following table lists "unary" boolean operators, meaning that they take one argument, and work with one of the following syntaxes: <code>argument.operator;</code> or <code>operator( argument );</code>
- {|
- ! Operator !! Meaning
- |-
- | isPositive || "True" if the argument is greater than or equal to 0
- |-
- | isStrictlyPositive || "True" if the argument is greater than 0
- |-
- | isNegative || "True" if <code>isPositive</code> is "false"
- |}
+ Boolean operators evaluate to <literal>true</literal> or <literal>false</literal>, and are most useful in boolean expressions, where they help to determine which portion of a program to execute.
+ </para>
+ <para>
+ The following table lists binary boolean operators that take two arguments: one on the left and one on the right. These operators produce either <literal>true</literal> or <literal>false</literal>.
+ <table>
+ <title>Binary Boolean Operators in SuperCollider</title>
+ <tgroup cols='2' align='center'>
+ <colspec colname='operator' />
+ <colspec colname='meaning' />
+ <thead>
+ <row>
+ <entry>Operator</entry>
+ <entry>Meaning</entry>
+ </row>
+ </thead>
+ <tbody>
+ <row>
+ <entry><</entry>
+ <entry>less than</entry>
+ </row>
+ <row>
+ <entry><=</entry>
+ <entry>less than or equal to</entry>
+ </row>
+ <row>
+ <entry>></entry>
+ <entry>greater than</entry>
+ </row>
+ <row>
+ <entry>>=</entry>
+ <entry>greater than or equal to</entry>
+ </row>
+ <row>
+ <entry>==</entry>
+ <entry>equivalent</entry>
+ </row>
+ <row>
+ <entry>!=</entry>
+ <entry>not equivalent</entry>
+ </row>
+ <row>
+ <entry>===</entry>
+ <entry>identical (the same object)</entry>
+ </row>
+ <row>
+ <entry>!==</entry>
+ <entry>not identical (not the same object)</entry>
+ </row>
+ <row>
+ <entry>&&</entry>
+ <entry>logical <literal>And</literal></entry>
+ </row>
+ <row>
+ <entry>||</entry>
+ <entry>logical <literal>Or</literal></entry>
+ </row>
+ </tbody>
+ </tgroup>
+ </table>
+ </para>
+ <para>
+ The following table lists unary boolean operators that take one arguments. These operators produce either <literal>true</literal> or <literal>false</literal>.
+ <table>
+ <title>Unary Boolean Operators in SuperCollider</title>
+ <tgroup cols='2' align='center'>
+ <colspec colname='operator' />
+ <colspec colname='meaning' />
+ <thead>
+ <row>
+ <entry>Operator</entry>
+ <entry>Meaning</entry>
+ </row>
+ </thead>
+ <tbody>
+ <row>
+ <entry>isPositive</entry>
+ <entry><literal>true</literal> if the argument is greater than or equal to <literal>0</literal></entry>
+ </row>
+ <row>
+ <entry>isStrictlyPositive</entry>
+ <entry><literal>true</literal> if the argument is greater than <literal>0</literal></entry>
+ </row>
+ <row>
+ <entry>isNegative</entry>
+ <entry><literal>true</literal> if <function>isPositive</function> is <literal>false</literal></entry>
+ </row>
+ </tbody>
+ </tgroup>
+ </table>
+ Unary operators are actually functions, and must be used as such.
+<programlisting><![CDATA[
+(
+ var x = 5;
+ x.isPositive; // returns "true"
+ isNegative( x ); // returns "false"
+)
+]]></programlisting>
</para>
<para>
The use of these operators is explained below in the "Boolean Expressions" section.
@@ -1396,17 +1454,49 @@ a = 42; // assigns the value 42 to "a", over-writing the previously-stored value
</para>
<para>
The following table illustrates how the <application>SuperCollider</application> 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
- |}
+ <table>
+ <title>Truth Table</title>
+ <tgroup cols='4' align='center'>
+ <colspec colname='left' />
+ <colspec colname='right' />
+ <colspec colname='and' />
+ <colspec colname='or' />
+ <thead>
+ <row>
+ <entry>If the left sub-expression is...</entry>
+ <entry>... and the right sub-expression is...</entry>
+ <entry>... then logical <literal>And</literal> evaluates to...</entry>
+ <entry>... and logical <literal>Or</literal> evaluates to...</entry>
+ </row>
+ </thead>
+ <tbody>
+ <row>
+ <entry><literal>true</literal></entry>
+ <entry><literal>false</literal></entry>
+ <entry><literal>false</literal></entry>
+ <entry><literal>true</literal></entry>
+ </row>
+ <row>
+ <entry><literal>false</literal></entry>
+ <entry><literal>true</literal></entry>
+ <entry><literal>false</literal></entry>
+ <entry><literal>true</literal></entry>
+ </row>
+ <row>
+ <entry><literal>true</literal></entry>
+ <entry><literal>true</literal></entry>
+ <entry><literal>true</literal></entry>
+ <entry><literal>true</literal></entry>
+ </row>
+ <row>
+ <entry><literal>false</literal></entry>
+ <entry><literal>false</literal></entry>
+ <entry><literal>false</literal></entry>
+ <entry><literal>false</literal></entry>
+ </row>
+ </tbody>
+ </tgroup>
+ </table>
</para>
<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.
@@ -2062,15 +2152,38 @@ var mySynth = Synth.new( \playMe );
)
]]></programlisting>
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
- |}
+ <table>
+ <title>Parameters in Audio-Rate and Control-Rate <classname>SinOsc</classname> UGens</title>
+ <tgroup cols='3' align='center'>
+ <colspec colname='parameter' />
+ <colspec colname='ar' />
+ <colspec colname='kr' />
+ <thead>
+ <row>
+ <entry>Parameter</entry>
+ <entry>In an audio-rate UGen...</entry>
+ <entry>In a control-rate UGen...</entry>
+ </row>
+ </thead>
+ <tbody>
+ <row>
+ <entry>freq</entry>
+ <entry>controls the pitch</entry>
+ <entry>controls the speed of oscillation</entry>
+ </row>
+ <row>
+ <entry>add</entry>
+ <entry>??</entry>
+ <entry>sets the middle point of the sine wave by adding this to the output</entry>
+ </row>
+ <row>
+ <entry>mul</entry>
+ <entry>controls volume level</entry>
+ <entry>sets the deviation from "add"</entry>
+ </row>
+ </tbody>
+ </tgroup>
+ </table>
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>add - mul</code> and <code>add + mul</code>, and the speed of oscillation with "freq". The end result is very different numbers.
</para>
<para>
@@ -2296,18 +2409,44 @@ h.do( { arg item; item.set( \frequency, (440.rand + 440) ); } );
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.
</para>
<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".
- |}
+ The following messages/functions can also be used with Bus Objects:
+ <table>
+ <title>Some Functions of the <classname>Bus</classname> Class</title>
+ <tgroup cols='3' align='center'>
+ <colspec colname='message' />
+ <colspec colname='example' />
+ <colspec colname='purpose' />
+ <thead>
+ <row>
+ <entry>Message/Function</entry>
+ <entry>Example</entry>
+ <entry>Return Value</entry>
+ </row>
+ </thead>
+ <tbody>
+ <row>
+ <entry>index</entry>
+ <entry><code>b.index;</code></entry>
+ <entry>The lowest bus number used by this Bus object.</entry>
+ </row>
+ <row>
+ <entry>numChannels</entry>
+ <entry><code>b.numChannels;</code></entry>
+ <entry>The number of busses used by this Bus object.</entry>
+ </row>
+ <row>
+ <entry>rate</entry>
+ <entry><code>b.rate;</code></entry>
+ <entry>Either <literal>audio</literal> or <literal>control</literal>.</entry>
+ </row>
+ <row>
+ <entry>server</entry>
+ <entry><code>b.server;</code></entry>
+ <entry>The name of the server used by the Bus object. The default server is <literal>localhost</literal></entry>
+ </row>
+ </tbody>
+ </tgroup>
+ </table>
</para>
<para>
When you are done with a Bus, you can release the channels for use by other Bus Objects:
diff --git a/en-US/SuperCollider/SuperCollider-Composing.xml b/en-US/SuperCollider/SuperCollider-Composing.xml
index 5669b5c..1a89ab0 100644
--- a/en-US/SuperCollider/SuperCollider-Composing.xml
+++ b/en-US/SuperCollider/SuperCollider-Composing.xml
@@ -95,7 +95,9 @@
<step><para>Now we can't hear the left channel, because the right channel is too loud! Playing with volumes (sometimes called "adjusting levels" for computers) is a constant aesthetic concern for all musicians. Add a "mul" argument to the right channel, and set it to what seems an appropriate volume for the moment. It will probably change later, but that's okay.</para></step>
<step><para>But let's add another dimension to this: there's no reason to keep the volume static, because we can use a SinOsc to change it periodically! I added a SinOsc variable called "volumeL," which I used as the argument to "mul" for the "frequencyL" SinOsc in the left channel.</para></step>
<step><para>And now the sheer boredom of the drone in the left channel becomes obvious. I decide to make it more interesting by adding a series of overtones (an overtone is...). I decide to add six, then experiment with which frequencies to add. But, every time I adjust one frequency, I have to re-calculate and change all the others. So I decide to add a variable for the drone's frequency: "frequencyL_drone". This way, after finding the right intervals, I can easily adjust all of them just by changing the variable. I've decided on drone*1, 2, 5, 13, and 28. These are more or less arbitrary, and I arrived on them through experimentation. Of course, the drone will be ''way'' too loud.</para></step>
- <step><para>Having <code> SinOsc.ar( [frequencyL_drone,2*frequencyL_drone,5*frequencyL_drone,13*frequencyL_drone,28*frequencyL_drone], mul:0.1 )</code> in your program is not easy to read, and actually it doesn't work out volume-balance-wise (for me, at least): the high frequencies are too loud, and the lower ones are not loud enough. In retrospect, I should have created a variable for the "mul" of these drones, so I could adjust them easily in proportion. But, I didn't.</para></step>
+ <step><para>Writing
+ <programlisting><![CDATA[SinOsc.ar( [frequencyL_drone,2*frequencyL_drone,5*frequencyL_drone,13*frequencyL_drone,28*frequencyL_drone], mul:0.1 )]]></programlisting>
+ in your program is not easy to read, and actually it doesn't work out volume-balance-wise (for me, at least): the high frequencies are too loud, and the lower ones are not loud enough. In retrospect, I should have created a variable for the "mul" of these drones, so I could adjust them easily in proportion. But, I didn't.</para></step>
<step><para>A constant drone isn't as much fun as one that slowly changes over time. So, I changed the "frequencyL_drone" value to a SinOsc.kr UGen. Because it's supposed to be a "drone," it should change only very gradually, so I used a very small freqeuncy argument. It still moves quite quickly, but people won't want to listen to this too long, anyway!</para></step>
<step><para>I did something similar with the right channel, addding a slowly-changing drone and overtones above it.</para></step>
<step><para>After some final volume adjustments, I feel that I have completed the first part. There is no way to know for sure that you've finished until it happens. Even then, you may want to change your program later.</para></step>
@@ -263,9 +265,9 @@ myFunction.value;
<section id="sect-Musicians_Guide-SC-Composing-Scheduling_the_Tones">
<title>Scheduling the Tones</title>
<procedure>
- <step><para>The next step is to get these started consecutively, with 5-second pauses after each addition. For this we will use a TempoClock, and since this is the only thing that we're doing, we'll just use the default one called TempoClock.default. I don't feel like typing that, however, so we're going to define an alias variable: <code>var t_c = TempoClock.default;</code> You could put that in the main function, but I suggest putting it before the main function. This way, if we want to write another function later, then it can also access t_c.</para></step>
+ <step><para>The next step is to get these started consecutively, with 5-second pauses after each addition. For this we will use a TempoClock, and since this is the only thing that we're doing, we'll just use the default one called TempoClock.default. I don't feel like typing that, however, so we're going to define an alias variable: <code>var t_c = TempoClock.default;</code> You could put that in the main function, but I suggest putting it before the main function. This way, if we want to write another function later, then it can also access <literal>t_c</literal>.</para></step>
<step><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>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.</para></step>
- <step><para>You can schedule something on a TempoClock by using <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:
+ <step><para>You can schedule something on a TempoClock by using <code>t_c.sched( <replaceable>x</replaceable>, <replaceable>f</replaceable> );</code>, where <literal>f</literal> is a function to execute, and <literal>x</literal> is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this:
<programlisting><![CDATA[t_c.sched( 1, {{[ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]}.play;} );]]></programlisting></para></step>
<step><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.</para></step>
<step><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:
@@ -371,9 +373,9 @@ var t_c = TempoClock.default;
<step><para>This still won't work, because we need to adjust the rest of the function to work with this array. The scheduling commands be changed to look something like this: <code>t_c.sched( 1, { so1 = sinosc[0].play; } );</code> Since arrays are indexed from 0 to 9, those are the index numbers of the first ten objects in the array.</para></step>
<step><para>Remember that you need to put all of your variable declarations ''before'' anything else.</para></step>
<step><para>It ''should'' still work. Let's use a loop to get rid of the ten identical lines.</para></step>
- <step><para>In SuperCollider, <code>x.do( f );</code> will send the "value" message to the function "f" "x" times. So, to do this ten times, we should write <code>10.do( { sinosc = sinosc.add( { func.value; } ); } );</code> and get rid of the other ones. This is very powerful for simple things that must be done multiple times, because you are definitely not going to make a copy-and-paste error, because it's easy to see what is being executed, and because it's easy to see how many times it is being executed.</para></step>
+ <step><para>In SuperCollider, <code><replaceable>x</replaceable>.do( <replaceable>f</replaceable> );</code> will send the <literal>value</literal> message to the function <literal>f</literal> <literal>x</literal> times. So, to do this ten times, we should write <code>10.do( { sinosc = sinosc.add( { func.value; } ); } );</code> and get rid of the other ones. This is very powerful for simple things that must be done multiple times, because you are definitely not going to make a copy-and-paste error, because it's easy to see what is being executed, and because it's easy to see how many times it is being executed.</para></step>
<step><para>Now let's reduce the repetitiveness of the scheduling. First, replace so1, so2, etc. with a ten-element array. Test it to ensure that the code still works.</para></step>
- <step><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>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.</para></step>
+ <step><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>10.do( <replaceable>something</replaceable> );</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.</para></step>
<step><para>The code to free is shorter: <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:
<programlisting><![CDATA[
10.do
@@ -387,7 +389,7 @@ var t_c = TempoClock.default;
If you missed it, my solution is
<programlisting><![CDATA[10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( sinosc[index].play; ); } ); } );]]></programlisting>
which includes some extra parentheses to ensure that the math is computed in the right order.</para></step>
- <step><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>sinosc[index]</code> with what all of its elements are: <code>{func.value;}</code></para></step>
+ <step><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>sinosc[index]</code> with what all of its elements are: <code>{ func.value; }</code></para></step>
<step><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:
<programlisting><![CDATA[
var t_c = TempoClock.default;
diff --git a/en-US/SuperCollider/SuperCollider.xml b/en-US/SuperCollider/SuperCollider.xml
index 78c792a..492d994 100644
--- a/en-US/SuperCollider/SuperCollider.xml
+++ b/en-US/SuperCollider/SuperCollider.xml
@@ -184,7 +184,11 @@ notification is on
<step><para>Select the code that you wish to execute. A single line of code may be executed simply by placing the text-input cursor on that line.</para></step>
<step><para>Press 'Ctrl+E' on the keyboard, or from the menu select 'SuperCollider > Evaluate'</para></step>
<step><para>To stop all sound on the server, press 'Esc' on the keyboard, or from the menu select 'SuperCollider > Stop Sound'</para></step>
- <step><para>If the server successfully executes the code, then it will output something to the "SuperCollider output" pane. The output will be different, depending on what SuperCollider asked the server to do, but will usually either look like this: <code>Synth("temp_0": 1000)</code>, or this: <code>RESULT = 0</code>.</para></step>
+ <step><para>If the server successfully executes the code, then it will output something to the "SuperCollider output" pane. The output will be different, depending on what SuperCollider asked the server to do, but will usually either look like this:
+ <programlisting><![CDATA[Synth("temp_0": 1000)]]></programlisting>
+ or this:
+ <programlisting><![CDATA[RESULT = 0]]></programlisting>
+ </para></step>
</procedure>
</section>
<section id="sect-Musicians_Guide-SC-Using_GEdit-Other_Tips">
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